From ‘Jerez with Japan’s’ paradise of jondo are declared to be of territorial integration and of space without limits
Highlighted voices of David Lagos, Londro and Yuka, guitar of Alfredo Lagos and dancing of Andrés Peña
‘Sherry with Japan’
Festival: LI Feast of Bulería (II): ‘Jerez with Japan’ / Sing: Fernando de la Morena, David Lagos, Melchora Ortega, Miguel Rosendo, El Londro and Yuka Imaeda / Dance: Andres Pena, Miguel Angel Heredia, Uncle Zorri, Aunt, Juana Carrasco, Shoji Kojima, Shiho Morita, Mayumi Kagita and Hiroki Sato / Palms: Javier Peña and Carlos Grilo / Percussion: Perico Navarro / Guitar: Alfredo Lagos, Jose Galvez and Javier Ibáñez / musical Direction: David Lakes / artistic Direction and staging by: Javier Latorre / Place and date: Alameda Vieja, Jerez de la Frontera. August 24, 2018.Rating: **
The second day of Feast of Bulería opened her heart to untie beyond ir borders. If in two previous editions were weighted on his righteous terms, ‘Houses Cantaoras de Mairena, Lebrija and Utrera’ and ‘Cadiz, Port in memory of Camarón’, respectively, corresponding this year to ‘Jerez with Japan’, paradise of jondo are declared to be of territorial integration and of boundless space, something that will always digest to minds pleistocénicas.
The benchmark has been bailaor Shoji Kojima, that in 2016 he was named ambassador of ‘Flamenco de Jerez’ and that in past month for February premiered at Teatro Villamarta in assembly ‘Flamenconautas’, which brought toger artists from 12 countries in order to claim universal character of flamenco.
David Lagos, as a singer who is in a sublime moment and a musical director, and teacher, Javier Latorre, who after burying his mor, he traveled from Valencia to assume artistic direction and scenic, allowed for border crossing, place where it is possible to traffic input and output, thus achieving coexistence in bare landscape of proscenium, between different generations of andalusian and japanese in a migratory flow which was not to be musical exchanges, but yes to loans and establish dividing lines performing.
One and or seek to decipher charm of flamenco and share same destiny, showing that re are no borders on intangible of jondo. Well, or maybe yes, as design of lights, intense colors, so disco verbenera as aggressive to eye and detrimental to photojournalist, and duration of three hour show which, as it happened in first day, tired at times and prevents, obviously, and program it into network of aters.
orwise, this proposal had ups and downs, with moments of interest and or of tedium, and demand scissors, while y have excelled cante of David Lagos and Londro, who are living days of glory, voice hurtful of Yuka, guitar of Alfredo Lagos, highest in introductions, and dancing of Andrés Peña.
re Were, however, details to consider, such that ‘pataíta’ por Juana Carrasco and The Zorri; homage to Miguel Angel Heredia, executed with elegance and placement but also with eagerness of those awaiting arrival of duende; rumba as picarona of Melchora and ir fandangos in duet with Yuka Imaeda; nostalgia of José Gálvez by Moraíto Chico, and bulería that lit up way to Fernando de la Morena.
But sing had more mobility than people. Rosendo evidenced in ir joys which is of Cadiz, Cadiz, spain. David Lagos has left two pregones and a mining to memory. And Londro came aftertaste that opens paths to sing longed.
But re was that breaking down of walls and action would come with romance of port and malaga with jabera of Yuka Imaeda, a singer temperamental that does not seem to come from Far East, and dancing japanese, which not lost horizon of your destination that marked close of soleá of Kojima with his 79-year costs; animosity of Hiroki Sato by cantiñas, which flew into a thousand pieces on wall, dull sadness; taranto with tangos of Shiho Morita and step two that did this with Miguel Angel Heredia, and fandango dance of Mayumi Kagita, who reached mystery of unexpected.
But if dance japanese woman was total limit of harmony and stillness of dance, Andres Pena was impetus of quiet and stillness made art in soleá por bulerías, tracing his own line on course, favouring, in addition, a party where flamenco crossed borders not to feel a fugitive, but to japanese out that distance did not move away from flamenco and proximity to Jerez reduces m to shadows.
flamenco is, well, unruly to borders. Sherry and Japan, or Japan and Jerez are two worlds, without confusing m, we have enriched each or. And, in consequence, re was in second day of Feast of Bulería more wall that execution and soul, essential. There are those who address what is jondo with anguish, with tears and lamentation, as in jerez, and ors that make flamenco fragments of life that are woven with lyrical japanese. Between m re is only one space-oriented to divide world between heaven and earth, where trace voices, accents, and rhythms but without borders.
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