Rocío Molina

For someone who makes a performance over things, is prone to being dramatic, making things complex when really they could be taken lightly, flamenco is right up my alley.

For a northern european it seems strange to have such a gut reaction to it, but I always have, and the flamenco festival was one of the highlights of this trip I was looking forward to. We have been to one tourist flamenco place which was brilliant and small and hot and sweaty, young performers use it apparently.

This woman was another thing altogether.

She was ‘woman’ at her very finest.

She was stunningly tense, powerful, beautiful, sexy, precise, sensitive, accurate, delicate, poised, spoilt, tempestuous, shocking, clever ; a wild spinning magnificence. Sometimes a bull, sometimes a snake. She was like a musical instrument that could move. The four of them together made unbelievably complicated rhythms of stamping, slapping, clapping, clicking fingers and guitars and the singing was so full of pain and strong and loud.

JOSE ANGEL CARMONA, “CARMONA”, singing and mandola JOSE MANUEL RAMOS “EL ORUCO”, handing clap and beat 

The whole performance was so tense I had to concentrate to relax.

You can see a bit here but it doesnt give their presence, the noise they made was so much part of it which doesn’t seem to get across. To me it had so much more than any other dance I have seen as it seemed so full somehow. And, real, in a way. Obviously hours and hours of practice and experimentation but it less formal somehow, I will think this through a bit more as I am out of my knowledge base, obviously there are formal elements….any way here is some info´s-wells/?lang=en