{"id":7947,"date":"2018-03-09T19:36:52","date_gmt":"2018-03-09T19:36:52","guid":{"rendered":"https:\/\/www.expoflamenco.com\/archivo\/uncategorized\/antonio-el-pipa-con-el-baile-de-cara\/"},"modified":"2019-03-15T22:13:14","modified_gmt":"2019-03-15T21:13:14","slug":"antonio-el-pipa-the-face-of-baile","status":"publish","type":"post","link":"https:\/\/expoflamenco.com\/archivo\/en\/chronicles\/antonio-el-pipa-the-face-of-baile\/","title":{"rendered":"Antonio el Pipa, the face of baile"},"content":{"rendered":"

By Luis M. P\u00e9rez. March 8, 2018 (Photo:\u00a0Flamenco viene del Sur<\/i>)<\/em><\/span><\/p>\n

We had a break from the rain which enabled us to wade the river of March, that month that replaces the flowers of Seville with mud, its orange blossoms with the crouching under the blanket. It\u2019s so cold, you can tell it by a quick glance at the multitude of grumpy faces all around, reading the series\u2019 program, from rain to rain, from rain to disappointment.<\/p>\n

The offering in\u00a0Flamenco viene del Sur<\/i>\u00a0Tuesday\u2019s edition is mouth-watering. Upon hearing his name, people put on their theater shoes and come to the Central theater with their faces washed and pores open. Tonight, Antonio EL Pipa, born in Jerez de la Frontera in 1971, will dance. Antonio R\u00edos Fern\u00e1ndez, that is, from the Santiago district of Jerez, the grandson of T\u00eda Juana and nephew of Juana and Antonio\u00a0del Pipa<\/i>. He brings us all his wisdom, his own and his whole family\u2019s. This is not a new show, it was premiered last year at the\u00a0Festival de Jerez<\/i>\u00a0and at the\u00a0Bienal de M\u00e1laga<\/i>, in a larger format and with luxury performances by Concha Vargas, Juana la del Pipa and Mar\u00eda del Mar Moreno. It will be hard to match that, Seville.<\/p>\n

The show is called\u00a0\u201cAs\u00ed que pasen veinte a\u00f1os<\/i>\u201d<\/b>\u00a0(\u201cEven after twenty years<\/i>\u201d). No, it has nothing to do with the novel of the same name by Juan Mars\u00e9, and it\u2019s not a tribute to the ominous Garc\u00eda Lorca\u2019s theater play \u201cAs\u00ed que pasen cinco a\u00f1os<\/i>\u201d (\u201cEven after five years<\/i>\u201d), finished on August 19, 1931, exactly five years before the poet\u2019s tragic death. Antonio El Pipa just means to thank life for the twenty years of his company\u2019s artistic career. Thus, this show is a journey through his most renowned productions, without further conceptual puzzles to challenge the brains of the patient aficionados who just came to see him lift his arms and give them his flamenco soul for one hour and a half. Nothing more, nothing less, that would be enough.<\/p>\n

Antonio El Pipa has a very peculiar way to express his art. Rather that using his feet (as he has never been particularly outstanding with his lower limbs), this Gypsy\u00a0bailaor<\/i>\u00a0dances with his face. He has an enviable physique and the perfect look to feature in folkloric prints. He\u2019s wearing brown and jet black, as if ready to bullfight in a print by Goya in Ronda, captivating the public with the grace and fury etched in his lips, his pupils overflowing with this spectacle of\u00a0baile<\/i>. He dances\u00a0por alegr\u00edas<\/i>, a number from his show \u201cGallard\u00eda<\/i>\u201d, the ideal word to define his flamenco poise. Just before that, three reliable\u00a0cantaoras<\/i>\u00a0made clear that\u00a0cante<\/i>had an important role that evening, performing\u00a0La Trilla<\/i>\u00a0from the show \u201cVivencias<\/i>\u201d.<\/p>\n

On stage appeared\u00a0Macarena Ram\u00edrez<\/b>, a wonderful\u00a0bailaor<\/i>a from Chiclana de la Frontera, a luxury for any dance company. Her tiny, girly frame is like a white lamb, sitting on a lone chair. Antonio commands her to dance, forcefully, quite literally. To dance after being disdained. The song\u00a0por guajiras<\/i>\u00a0is part of the show\u00a0Puerta Adentro<\/i>. She has an impeccable control of the fan, and such is her grace and charisma that it\u2019s impossible no to follow her on the stage. Yet, although they were announced in the program\u2019s handouts, there is no room for\u00a0martinetes<\/i>\u00a0or\u00a0seguiriyas<\/i>, lest the public suffers a purity overload, considering the state of flamenco these days.<\/p>\n

The traditional\u00a0cartageneras<\/i>\u00a0were performed, though, from the show\u00a0P\u00edcaros tartaneros<\/i>, linked with\u00a0tarantos a comp\u00e1s<\/i>\u00a0of\u00a0tangos para el baile<\/i>\u00a0by Antonio, who was now fully engaged, continuing to provide images worth of folkloric paintings in a 3-4\u00a0comp\u00e1s<\/i>. Perhaps this was the least intense performance in the whole evening.<\/p>\n

If the raw ingredients are good, all the stew needs is a good seasoning. If we then add dedication, effort and commitment, then the dish becomes absolutely delicious. It was the evening of\u00a0Ofelia M\u00e1rquez<\/b>, Gypsy\u00a0bailaora<\/i>\u00a0settled in Rota, who debuted as Antonio El Pipa\u2019s dance partner. She was a great example of\u00a0baile<\/i>\u00a0in its own right, and we\u2019ll keep an eye on her evolution. Her dance\u00a0por buler\u00edas romanceadas<\/i>, between Lebrija y Utrera, and her\u00a0final de fiesta<\/i>\u00a0squeezed all the best from Antonio, who felt more Gypsy than ever, taking advantage of his very flamenco arms, which are part of his trademark. And that dance with his face we mentioned before, teasing, rogue and sensuous, enjoying himself for being at ease. Abusing the\u00a0desplantes<\/i>, true, and also the untimely little steps, although that\u2019s typical of him.<\/p>\n

We can\u2019t leave out the three guitarists\u00a0Juan Jos\u00e9 Alba<\/b>\u00a0and\u00a0Javier Ib\u00e1\u00f1ez<\/b>, in charge of the music, and\u00a0Dani Ram\u00edrez<\/b>. Even as, at first, we couldn\u2019t figure out why there was a need for three guitars playing in synch, the fact is that they provided a clean and intelligible sound, perhaps also due to Alan Gil, in charge of the show\u2019s sound. The lights by\u00a0Elena Postigo<\/b>, finally something more than just black and white, and the illustrations and animations in the stage\u2019s background by\u00a0Domingo Mart\u00ednez<\/b>\u00a0contributed to that feeling of success at the end of the show.<\/p>\n

Event notes:<\/b>
\nShow:<\/b>\u00a0As\u00ed que pasen veinte a\u00f1os<\/i>. Compa\u00f1\u00eda Antonio el Pipa.
\nSeries (Ciclo<\/i>):<\/b>\u00a0Flamenco viene del Sur<\/i>
\nPlace and date:<\/b>\u00a0Teatro Central, Seville. March 6, 2018
\nBaile<\/i>:<\/b>\u00a0Antonio el Pipa, Macarena Ram\u00edrez, Ofelia M\u00e1rquez, LauraBejines, Margarita de Castro y Pilar Ram\u00edrez.
\nCante<\/i>:<\/b>\u00a0Sandra Zarzana, Fan\u00eda Zarzana y To\u00f1i Nogaredo.
\nGuitars:<\/b>\u00a0Juan Jos\u00e9 Alba, Javier Ib\u00e1\u00f1ez y Dani Ram\u00edrez.<\/small><\/p>\n

Translated by P. Young<\/span><\/p>\n

 <\/p>\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"

The bailaor from Jerez was acclaimed by the public of Seville with his show \u201cAs\u00ed que pasen veinte a\u00f1os\u201d in the Flamenco viene del Sur series. \u201cAs\u00ed que pasen veinte a\u00f1os\u201dFlamenco viene del Sur<\/p>\n","protected":false},"author":7,"featured_media":10413,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"ngg_post_thumbnail":0,"footnotes":""},"categories":[70,71],"tags":[],"class_list":["post-7947","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-chronicles","category-shows"],"yoast_head":"\nAntonio el Pipa, the face of baile - Archivo Expoflamenco<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/expoflamenco.com\/archivo\/en\/chronicles\/antonio-el-pipa-the-face-of-baile\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Antonio el Pipa, the face of baile - 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