With tons of enthusiasm and professionally demanding artistic qualities, a group of students from Master of FlamencoUMA's logy have devised a way to bring their own flamenco research to the stage. In addition to the flamenco As a common thread, in all of them the woman is the protagonist, but from different perspectives.
With Melina Frias As the master of ceremonies, all the components of the show are presented dressed in different types of robes and characterizations, while she, with aplomb and grace, tells us that the Flamenco He goes to the University and changes his gown for a scientific research gown and gloves. Rocio the Boterita It starts with fandangos of Grapefruit: The truth is, nobody can stand me because I tell the truth… A nod to that search in the investigation of 'the truth' that is very difficult to find and that for science is that which we can prove. Speech therapist and singer, La Boterita has made her study on the reception of flamenco In Japan, especially women who decide to be artists and dedicate their lives to it are taken into account, which is why they come with their hair and makeup done in the Japanese style.
And from Japan we travel to Korea, well Irene Nunez, a dancer and scholar of Korean culture to which she is currently dedicating her thesis, brings us a beautiful number that contrasts the guajira –her dance with a fan is a model of elegance and femininity– with the pansori, a traditional Korean song that was usually performed by female artists and that, as we were able to see, has astonishing similarities with the cadences of some cantes flamencos.
«After attending this show, humble and simple, but full of coherence and content, demanding and brave, seeking excellence from the hobby and love of this art, one leaves with the soul swollen with hope, convinced that flamenco "There are still centuries ahead of him"
And Melina enters like a whirlwind, handling a vacuum cleaner that helps her to spin memories of her childhood and how her mother always insisted that she study, but she couldn't do it, since her family survived the terrifying Disband, the flight from Malaga to Almeria on foot of thousands of Malaga residents during the Civil War, on February 8, 1937. Finding verses alluding to this massacre has been the leit motif from the work of Melina Frías and among the findings, some letters in a drawing by the Malaga painter Manuel Garvayo They are sung here for the first time –as a lullaby, soleá and seguiriya– in the mournful voice of La Boterita for Melina to dance with brilliant execution, in an exciting interpretation in which she removes layers of nightgowns, a metaphor for fears and impositions over the years to hide deep inside who she really is, which she breaks with rage.
After this moment full of pellizcoThe three women join hands, showing T-shirts on which we see a Japanese, a Korean and a Gypsy. Without letting go, they sing together in a symbol of unity through art. flamenco.
The music of the montage deserves special mention, perfectly coordinated by Christian Nebermann on the guitar, with the counterpoint of the bass flamenco de Conchi Mateo, both students of the Master of Flamencoology, the first interested in the codes of women's dance, and the second in flamenco theatre and scenography.
Let the end of the party be for everyone! The entire cast sang and danced bulerías to say goodbye, with a dedicated audience who cheered and applauded standing up.
After attending this show, humble and simple, but full of coherence and content, demanding and brave, seeking excellence from the hobby and love of this art, one leaves with the soul swollen with hope, convinced that flamenco still has centuries ahead of it.
Credits
The Robe, by the Master's Students of FlamencoUMA's logy
UMA Cultural Container, Malaga
November 7th 2024
Capacity: Full (80 people)
Master of Ceremonies: Melina Frías
Cante: Rocio the Boterita
Dance: Irene Nunez
Guitar: Christian Nebermann
Bass: Conchi Mateo
