I wouldn’t normally post about something that I had no photos for (the shot above was taken years ago), but last night’s performance of Danzaora by Rocío Molina has to be done.
Taking us seamlessly through a multitude of different ways of expressing the essence of Molina’s constant investigation of the ‘danceable universe’ (those words in italics are from the programme, not mine), according to that same programme the production is of the ‘danceable universe from a holistic point of view’ summarising ‘her personal view of dance’.
Given that she is the choreographer, that it was her personal view is a given, in my opinion an unnecessary waste of words. Describing the performance, her expressiveness and interpretation, and how, no matter what she does, she conveys the ageless spirit of flamenco is not.
The Good Bits
Throughout a spellbinding 90 minute performance Molina took us through a range of different dance styles, each following naturally from the other so that it was difficult to note where one began and the other ended.
The set was sparse and all had purpose, the use of unconventional percussion was as seamless as the stupendously seguing styles she displayed. Starting with moves evocative of a beautifully engineered fluid doll, her arms, fingers and hands depicting huge circles she ended in similar style, giving the impression that she – the dancing doll-like style depicting fluid flamenco styles in this dance’s ever-expanding creative space – was the only natural authentic in the universe, rather than the wooden construct that Pinocchio has led us to expect.
The Other Bits
I couldn’t help wondering into whose flamenco floor were the shards of glass being ground, or how many pairs of shoes she got through in a tour.
That’s going to take some beating!