One Thursday afternoon in a neighborhood hall, there were two young women wearing tracksuits, one eating pipes and the other rolling a cigarette, sitting very close to the audience. They had no microphones or sound amplification, no lighting changes, no added musicians, or anything at all except two bodies with voices and art. The show hour provided something clear, a conceptual dish dressed in flamenco art, a salmon that rises up the current, with all its enthusiasm. One sang and the other danced, everything very flamenco and at the same time risky, a flamenco art without polka dot dresses or guitarists, a cappella flamenco, modern, and very neighborhood. When pure art becomes a product, it becomes fossil, and is no longer a place for novelties, but when art mutates, instead of dressing up in folklore repeated a thousand times, it enters experimental zones with its own scenic language. Incorporating a standardized wardrobe is already a great contribution, and working with a somewhat irreverent attitude and with certain very repeated and well-known flamenco canons gives it a futuristic air. Several olés emerged from the audience when there was virtue. Was necessary. Flamenco is an art that requires accompaniment from its audience. If the avant-garde lives in the novel, La Chachi is already a brand.
LLOVERAS 20 11 23
María del Mar Suárez / La Chachi ‘Taranto Aleatorio’, Spain
