Big words of encouragement are needed for those who are forced to retire due to circumstances beyond ther control, leaving them helpless. Carmelilla Montoya is no longer able to fulfill that biblical curse, “by the sweat of your brow you will eat your bread”. She can no longer dance with that strength characteristic of her people and their ancient traditions, but she’s still able to return the love and warmth that the artists and the people of Seville gave her in this third tribute show in her honor.

Carmelilla is hurt, but she’s still breathing, with pride, peace and joy, because she knows she has a place in the history of this art and in the hearts of her public and her colleagues. She’s rich in love and art. She entered the stage joined by a sign language interpreter and Ricardo Pachón as MC, as he evoked that child whose fame took off when she was just 10 years old. A traditional, pure bailaora with a solid understanding of cante: these are three pillars of her art.

Rafael Riqueni gets the show started playing Amargura together with Manolo Franco and Paco Jarana, giving way to a beautiful dialogue between Rubén Olmo and the mantón, his well-known Ave Fénix. The mantón in the hands of the flamboyant director of the Ballet Nacional becomes a real person, a person with a soul. Rubén and his mantón become intertwined, exploring intimacy. A master of new spaces.

A round of cante, cantes grandes. Pechugita, El Pele playing mischief with his soleá trianera. Segundo Falcón, Tomasa in her little chair with her white hair, clinching a seguiriya. Pansequito closes the round, chilling our bones.

Women flirt with cante, as if trying to keep death away or extend life itself, por tangos and por bulerías. As if together in a yard, they link together each sound, invoking the sacred party of joyful participation. From the youngest, Alba Molina, to Remedios Amaya, they sing and seduce, dancing with the ease of maximum expression without knowing it, with elegance, the embodiment of Triana and Seville, or Seville and Triana.

«Carmelilla has made possible a historic review of one of the cradles of arte flamenco, and one of its strong ethical attributes. A star of Triana has once again shone its light upon paths we should never stop treading»

The granddaughter of Terremoto de Jerez harness the power of her cante and baile with playful frills. The public express their mood. What a beautiful evening! The spice and grace of Gypsy women dancing barefoot, with loose hair and the poise of ancient goddesses of grace. Esperanza. Remedios closes with inspired words in her fiery voice.

A parade of bailaores extols. A bunch of women branch out in eager flamenco dance, joined by the excellence of Segundo Falcón and Pechugita. The round is closed by Pastora Galván in a white dress, her loose hair adorned by a simple pink flower, joined by the vignette of Rafael Campallo. Like a ghost, Amador Rojas comes in dressed in dazzling white, with cape and fringes, as the accords of the violin surround his original dance with flamenco feel. Maestro! Canales comes in and time is stopped with his contained presence, his internal rhythm creating sparks in the air on the stage. A heartfelt seguiriya, as the public demands.

 

 

The evening is fulfilled but not overflowing. The mantón and bata de cola of Eva la Yerbabuena inflict us a visceral pause. An impeccable trio: José Valencia, Yerbabuena and Art. A poised woman wearing a dark red dress enters the stage like a raging bull as the public erupts in applause. Farruca wrapped in fringes enthralls us with her perfect positioning and her measured, condensed energy.

Alegrías of Menjíbar, from a wise school of graceful finesse. This lady of Seville’s baile keeps the ambers of flamenco’s essence burning with outstanding mastery. The ritual is followed, the yearning for the tradition that goes beyond aesthetic. Flamencos and Gypsies know a lot about respecting the elders and solidarity. This event becomes a textbook tribute show, one chapter in the encyclopedia of arte jondo.

Since there is no love without humor, this well-meaning and deeply felt artistic declaration was splendidly enlivened by the must-have Morancos. Without them, Triana would not be complete.

Carmelilla has made possible a historic review of one of the cradles of arte flamenco, and one of its strong ethical attributes. A star of Triana has once again shone its light upon paths we should never stop treading.

Jesús Molina, guiding light of this tribute show, thanked on the phone the support of Fundación Cristina Heeren and media companies such as Cadena Ser for their generous contribution, and spoke particularly endearing words to Rubén Olmo for his commitment and also to Paco Moreno, subdirector of the FIBES Conference and Exhibition Center.

Let’s keep following the star of Triana which this show has pointed, so that the ways of Triana and Seville keep lighting up our paths.

 

Teresa de la Cruz