An honorable and virtuous return of Jesús Carmona | Culture | EUROtoday

After his eventful time on the Spanish Ballet of the Community of Madrid, of which he was its first director, a place the place he barely stayed for one season and premiered a failed first present, Jesús Carmona (Barcelona, 1985) returns to the stage along with his non-public coaching and a present that explodes with its ambition and manufacturing, aspiring to the massive format and to dazzle the general public with a dark stage, profuse with parts and fueled by a blended sound by which timbral confusions abound, though after It is redeemed, partially, within the accompaniment of the dancers and within the synthesis of latest style of vernacular rhythms.

Regarding the regional public firm and what occurred there, Carmona has been rightly discreet; He doesn’t stir the pot an excessive amount of in order that the smut doesn’t rise, and as we speak he focuses on giving, with seriousness and poise, what he is aware of easy methods to do and what he’s acknowledged for: his dancing and his creativity, which nonetheless lacks a sure aesthetic management. His work is titled Attempt and as a subtitle he provides: Based on actual landscapes. Well, these landscapes are inhabited by ghosts and kind of actual beings, by aggressive apparitions with which one battles (within the type of dances).

The first picture is critical, when Carmona drags a big bundle (that which nobody can fully do away with) and opens it within the heart of the stage, as if to say: “The procession goes inside, but it can be shown.” And inside, there is just one object repeated many instances: they’re new tambourines (it could have been higher to search out them already dealt with and worn by life and vicissitudes), of people who abound in so many well-liked traditions with countless codecs, sizes, supplies and sounds. As we see it as we speak assimilated to the tarantella (in Italy) or the jota (in Spain), this tambourine comes from the Greek and homes the rattlesnake in pairs and strings, in order that it sounds, as Fraser very properly defined), that’s not disputed, though it has kinfolk and ancestors in Asia; In Carmona’s work, they symbolize one thing far more private: they’re recollections and experiences, apparently, not all of them nice. Successive scenes make this very clear: there are issues that can all the time be with you, whether or not you prefer it or not; No matter how a lot you keep away from them, somebody will remind you and put them in entrance of you. That is why, maybe once more, it’s higher to champion them, to confront them.

Perhaps Jesús Carmona doesn’t really feel any have to have sure concerns with the viewers, each within the extreme length of the present – which clearly has no less than 1 / 4 of an hour to spare – and in its ample specialised references, whether or not from flamenco dance itself or from folklore, which it’s significantly better and more healthy as we speak to name dances of well-liked traditions. The time period folklore is as reviled and poorly assimilated because the flamenco dancer collectible figurines to placed on prime of the tv. Although it have to be stated that Carmona, with knowledge and style, doesn’t at any time fall into the fakelore (one thing that started to promote very properly greater than half a century in the past when Dorson warned about it, and has wreaked actual cultural havoc that continues as we speak).

As with so many different topics in cultural anthropology and choreutic science, Dorson is cited with out having learn it, and that may result in errors. The so-called Spanish folklore is filled with examples of fakelore which, when detailed, it seems, are based mostly on earlier dangerous instructing (let’s return to Dorson, who explains it). The challenge not solely comes from historic instances but additionally from its didactic roots. Carmona, who comes from a proper conservatory coaching, is excellent at sq. dance, musicality apart, and dominates the appearing motion of the dancers in a dangerous situation, each on account of its dimensions and the best way the dance is about up. Already Antonio Gades in Carmen first, in second place with blood marriage ceremony (pasodoble) and in Fuenteovejuna Later (the place he moved everybody with that Extremaduran marriage ceremony) he proposed that revised and cultured inclusion, respectfully and appropriately. Carmona takes that witness, however limits the acceptance as cryptic. The white character might come from numerous locations within the Iberian Peninsula, there are clues: the petticoat (in Extremadura males put on it within the Italian dance from Cáceres), the shirt (keep in mind the clothes of Huesca), the little mirrors on the masks (they’re from Galicia to La Rioja), however that’s speculating about vacancy.

Instead of a smart and helpful clarification, the temporary web page that serves as a handbook program (evidently the evil that the covid, the confinement and its restrictions in probably the most various fields, ceaselessly decimated that of giving a direct and enough instrument to the viewer, the very fact is that, after they exist, they’re more and more worse in kind and content material: black background and font dimension 8, for instance, and nobody can pressure the theater person to put on a model new smartphone of the newest technology and skim a QR code), he offers a pseudoscientific sermon, a type of bar counter psychoanalyst varieties that may be learn the identical as earlier than. The dances, their stylistic genesis, aren’t detailed, neither is there the slightest reference to the putting character, evidently taken from some custom, who in the long run partially strips off his costume, so far as he can and leaves it, to do an exhausting paroxysmal dance quantity with which the piece ends, with nice affect and making the viewers burst into loud applause and bravos. In that concerting euphoria, underneath Carmona’s orders everybody takes off their footwear, every one takes a type of tambourines, and does a dance that features as a conventional encore. Could it’s a Sevillian corralera?

Jesús Carmona enters his maturity sustaining his dance with verve, very effortful and tense, maybe with fewer nuances of sweetness, adagio and pianísimo than is required of an artist so awarded for his virtuosity. The remainder of the summoned squad responds with ease and top, since on the whole they dance very properly and displaying indicators of high quality, element, private style and enthusiasm. It is just not attainable to establish (and it’s a disgrace, as a result of she deserved it) the dancer who does her dance with a scarf (it may very well be Lucía Campillo, Sofía Lasheras or Aitana Rousseau) or the dancer who filigrees his fast steps, barefoot and with splendid ft and educational standing (maybe it’s Pablo Egea Campillo) stealing the viewers in his temporary however scrumptious fragment. The singers Teresa Hernández and Gabriela Giménez gave a real recital; They, very younger and with a robust vocal instrument, supported the dance, however they appropriately displayed that function of singing when it not solely accompanies, however turns into a seminal a part of the dance in a novel and well-connected complete.