FLAMENCO FESTIVAL

The three day, 24th Flamenco Festival at City Center, A Tribute to Granada, opened with Festival Artistic Director, Miguel Marin, warmly welcoming the full house audience of enthusiastic followers of this dance tradition.  He dedicated the performance “to the soul and deep connection to Granada, represented in the energy and heart of Flamenco.”

Two stellar dancers and choreographers: Alfonso Losa and Patricia Guerrero presented their ninety minute original composition Alter Ego (US Premiere). It played with alterations of solos and duets as well as the inclusion of three musicians: vocalists Sandra Carrasco and Ismael “El Bola;” with Jose Manuel Martinez “El Peli,” on guitar.

The show opens on a dark stage with the two figures in opposite diagonal corners, lights evolving slowly to reveal the two.  While in silence, Losa inclines his head to his partner, Patricia Guerrero, as they slowly  initiate walk towards each other opening their arms, trading positions to the opposite corner thus setting up the theme of “alternate.” 

Three musicians are seated in a circle in the center of the stage. Dancers surround the chairs; then the musicians arrive, acknowledging their mutual collaboration and future shifting exchanges in a democratic community. Guerrero and the musicians sit while Losa dances, facing the musicians, stomping, clapping, with lightning swift finger snapping, hardly discernible from castanets. He spins and twirls, his vest, designed by Belen de L Quintana, flies in the wind setting off a swirl of tornado energy and impeccable technique. Stomping and clapping while he dances, Guerrero joins the musicians.

In the following section, they change roles: she dances, strong and defiant movements, her body reflected in large shadow on the backdrop while Losa complements the musicians. Vocalist Sandra Carrasco, in black, rises from her chair,  sings, dancing with her arms, then Ismael “El Bola” rises and joins her. Guerrero continues to dance, her lower body fast and furious, her upper body, slow and generous, offering sweeping gestures until the black-out.

The two dancers then begin a slow, partnered duet. They walk, circling the periphery of the stage, their arms entwine like one body, their alternate selves now one.  He lifts her, enters counter rhythmic dancing, then unison turns with the backdrop framing them in romantic peach color (the exquisite lighting is by Olga Garcia). When the lights come up again, guitarists are playing, and people are clapping.,

Bathed in silhouette, the wailing singers serenade the dancers. Two voices and a musical chord from the guitarist accompany the two; Losa, now with his vest around his waist like a skirt; she with a vest on top like his former costume–the shapes of these gender shifted costumes obvious. Guerrero, now dressed in pants and a new skirt, plays with a red fan, dancing sensuously as she faces the female singer. 

It ends with both dancers now spinning, arms striking space like lightning, describing a creative energy field, then slowly diminishing, until they casually walk off, one following the other… the piece almost imperceptibly completing itself.

In collaboration with the creative team that includes sound by Pedro León and staging by Ana Morales, Losa and Guerrero seamlessly created an original and deeply evocative expression of Flamenco traditions incorporated into their own modern composition.

EYE ON THE ARTS, NY — Mary Seidman