In Flamenco's Embrace

By Rosemary DeRosa

Though Washington may not be renowned for its heart, one finds in its stunning community of flamenco professionals, teachers, aficionados, and students an outpouring of passion rivalling that of any cultural capital. Websites, classes, concerts, and regular performances at local restaurants and other venues abound. And, now, there are wonderful gatherings for Sala Rocieras and endless Sevillanas at the Mediterranean Café.

On March 19, 2004 at "The Warehouse," there was a flamenco performance "Encuentros" that invited one into the very heart of life, communicating in song, dance, and music its passions, joys, sorrows, anger, and love, in all its dolorous, wondrous, horrifying, and exhilarating glory.

Flamenco offers, even to neophytes, a constellation of experiences, manifesting itself in myriad forms, abundant variety, and endless rhythms in song, guitar, and dance. One needn't "speak flamenco" to understand what is being said, or to marvel over its splendors. Perhaps it is because I am a novice, and humbled by my lack of the Spanish language, that I accept modern interpretations of a traditional form; some, however, might feel that classical forms are being compromised by the newest generation of choreographers, intent upon invention.

Aside from the talent manifested by the performers, a powerful ambience arose between and among the artists and the audience as the concert progressed. It was inspired for the impresario/dancer, Edwin Aparicio, to bring the Guest Artist, Eliézer "La Truco" Pinillos to Washington to perform and conduct workshops, for their friendship has resulted, among other things, in a concert of unique dynamism, aided also by the camaraderie of artists gathered for the performance.

The program for this sold-out concert delivered a range of works in both the traditional and abstract, modern idiom. These were some of the highlights I continue to ponder.

In their "Soledá," Aparicio and guest artist "La Truco" literally and metaphorically danced together and alone, finally turning away, as they wrought a narrative of longing and ultimate rejection. Alternating, somehow, between a caress and a slug, their "duet" explored the futility of and ceaseless need to find love. It was an exchange probing aspects of masculine and feminine ideals of beauty, strength, and desire. Both dancers who embody and embrace these dualities threatened, in this dance, to conquer each other. It was a smoldering, beguiling exploration. It’s a wonder that the stage did not spontaneously combust in this portrayal of passions unspent.

The petite woman with mellifluous voice who addressed the audience at the conclusion of "Encuentros" barely resembled the towering artist relaying "Retrato de Mujer" in her soleá. It was as wrenching a lamentation I’ve ever seen performed in a dance.

"La Truco" physically transformed herself while endlessly circling the small stage, searching, hunting, entreating – all torque and guts, her eyes downcast, tracing some inward, haunted journey. Into this rendering of womanhood, she breathed shimmering refinements through movement of her arms, torso, and hands, drawing the air with mute suffering. It was as deeply troubling as it was captivating. It was this work and the "Soledá" that fingered the boundaries of flamenco’s vocabulary – moving the choreography towards modernist abstraction.

To be sure, the evening was an enchanted forest filled with demons and larks alike. Anna Menendez performed a soleá, "Caña," in waves of purity, unfolding the many petals of her silken choreography with exacting grace and mounting excitement. She always brings lustre to each of her performances and is marvelous to behold.

The concert organizer and dancer Edwin Aparicio wields another kind of enchantment. He combines typically masculine vitality with an almost staggering endurance, combining balletic sensibilities with flamenco’s drive, a facet of his dancing I find intriguing. Underscoring the pyrotechnics of his choreography and escobilla (footwork) reside utter, magnetic subtleties. All one could do, at first, was marvel or gawk at the sustained virtuosity of the alegrias, "San Miguel," but then succumb to raptly beholding his genius for gesture. Inside his seemingly flawless technique is a wild exuberance – a tour de force and stamina, as well.

Cantaor, Jesus Montoya, guitarist, Ricardo Marlow, and percussionist, Jason Vera-y-Aragon, displayed magnificent talent during their respective solos, providing deft accompaniment to the dancers, especially during dancers’ solos. Richard Marlow is a magician with the guitar.

The special invited dancers also brought lively accompaniment – each member, Marta Chico Martin, Sara Jerez-Marlow (who’s program design merits a word of credit), and Lisa Scott, imbued her part with a gamut of flourishes and graceful execution – elegance, poise, verve, cunning, deftness.

It was a night to behold and lovingly recall for each of these artists brings pure joy and passion to fruition in their art, leaving the audience in their grateful embrace.