The Madrilenian stela alonso She is the solo dancer of National Ballet of Spain and has presented in Jerez his first own production, My way 2.0, in which the rhythms are linked flamencos with contemporary dance. It is the production that won the XXII Spanish Dance Competition and Flamenco in December 2013, and which was unveiled at the Suma Flamenca in Madrid in September 2021.
With this proposal, Alonso brings us closer to the bolero school. But he does so from the sound perspective of flamenco, something that should not surprise anyone and for which we recommend Dance basics flamenco: bowling school, the doctoral thesis of Ana Moya (2015)
Music, lights and stage development take the viewer to a script that is a process of social mentalization, an approach to a dance school that demands great versatility and that, apart from implying a notable added technical and stylistic effort, must tend to ensure that each choreography bears the seal of the identity of its creator.
We are, therefore, faced with a dance expression that is not unique, but multiple and variable, as Alonso has rightly noted, that, if as a whole it makes us see that dance is stylistic liberation, when we delve into the refined and powerful choreography of the saeta por carcelera con bata de cola, the search for the seguiriya in rhythm is an intense commitment carried out with elegance, from which one expects a delightful continuity and links so well coordinated that they put the spectator in the situation.
Alonso's style expresses the technique and poetic intentions of bulerías in the scenery of the candil, which shows multifaceted, broad spectrum and mature expression as the dances, like the country songs with shawls, become loaded with meaning, the Madrid dance standing out for its technique, strength and intention, giving each phrase meaning, a perfect dialogue with the musicians.
«Estela Alonso's role is enormous, but not excessive. Her performance in alegrías is perfect. And her control of the body is total, from which we can deduce that the emotional charge from the beginning gives the public the pleasure of seeing the performer dance in all her plenitude, who is not imprisoned by the rigidity of any style.»
The scene is yours. And while he describes the framework of the forms with a handling of the castanets of spookiness, a galloping effect and a lot of energy left on the road remains on the stage. The pretensions go hand in hand with the product. His tenacity and sensitivity in the dance to the recitation in off which gives title to the montage, are modeled in a pleasantly satisfactory way, to the point of finding ourselves in front of a virtuoso and vital stage personality, a pictorial framed with precious exercises.
Estela Alonso's role is enormous, but not excessive. Her performance in alegrías is perfect. And her control of the body is total, from which we can deduce that the emotional charge from the beginning gives the public the pleasure of seeing the performer dance in all her plenitude, who is not imprisoned by the rigidity of any style, nor is she limited to dancing simple, fast and repetitive steps, but rather combines two schools (flamenco in music and dance in performance), without being imprisoned by ideas.
In the closing bulerías, the energy and the search to differentiate styles and accents, dynamics and textures, says a lot and well about his proposal and even his future, characterized by a brilliant, intelligent, exhaustive and well-documented style, as we can see by not sparing any effort to offer his particular vision of flamenco dance typology.
It is also worth highlighting the costumes, since the costumes are appropriate to the proposal and to what lies beneath it, which is nothing more than a serious process of Spanish dance, using traditional elements, but allowing the material of other sound formulations such as zapateado to penetrate through the bolero school. flamenco.
We had attended the Deep feeling of the bolero school thanks to Estela Alonso, a dancer who shows her stage talents by creating a universe in the form of talent, so it is not surprising that she deserved the laurels of success and the admiration of this critic in Jerez.
Estela Alonso has also demonstrated her proven professionalism. And in this sense she is an example that should be taken into account, since she addresses the current state of the dance genre in its variety, stimulates musicians and provides an indisputable maxim: Their dance is a symbol that art endures over time and social changes..
Credits
My way 2.0, by Estela Alonso
29th Jerez Festival
Company Room
March 7th 2025
Choreography: Estela Alonso
Guest choreographer: Jesus Carmona (seguiriya)
Dance: Estela Alonso.
Guitar: Victor Marquez aka Tomato
Cante: Jesus Corbacho
Violin: Victor Guadiana
Palmas: Christian Garcia
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