Nobody misses that flamenco In Cadiz, despite the fact that some figures stand out, it is not living its most splendid days. It would be long and perhaps delicate to debate the causes of this. the apparent de-flamencization of the Tacita in the last two decades, and this chronicle is probably not the right place for it. But it is no less true that where there has been a lot of fire there are always embers left, and those are the ones that need to be fanned. Right now there is a whole generation in the city that has grown up in the heat of Chano Lobato, Marianita Cornejo, Santiago Donday, Gineto and Juan Villar –the last Mohican of that generation–, and they are the ones called to pass the torch to those who come. Among them is, and in a not insignificant place, the dancer and teacher of dancers Pilar Ogalla.
No one better than her to lead a project with a name as resounding as Ballet Flamenco from Cádiz, the same one with which he has presented himself in the Jerez Festival. A poetic title to start with, Watercolor with salt, which has turned out to be, I can already say, a stimulating and worthy calling card. Or something more: the reliable promise of a new era that will return to the bay a good part of its lost splendor.
But let's take it step by step. First, some bad news: Ogalla will not be able to dance in this debut, apparently due to a health problem, and will have to resign herself to watching it from the stalls as just another spectator. A harsh punishment for someone who has put so much effort and enthusiasm into this work, although I sincerely hope that she enjoyed more than anyone else watching the curtain rise and seeing the silhouette of her cast standing still, cut out against an orange curtain, like Saura. The figures slowly come to life and joy breaks out with the showiness of shawls and train dresses.
«No one better than Pilar Ogalla to lead a project with a name as resounding as Ballet Flamenco from Cadiz. A poetic title to start with, Watercolor with Salt, which has turned out to be a stimulating and worthy calling card. Or something more: the reliable promise of a new stage that will return to the bay a good part of its lost splendor.
A brief interlude with the three singers in the centre of the stage continues with the appearance of two of the first special guests of the night, Juan Ogalla, with that strong and virile farruca that draws fiery oles from the audience, and Andrés Peña with an intense, exhausting soleá, and both come to remind us that there is more dancing flamenco outside the hegemonic schools of the moment, which are not worth mentioning.
The percussionist Robert Jaen A kind of rap is performed to remember Mariana Cornejo and claim the greatness of the tanguillo, while revealing the meaning of the title of the montage: the secret of this palo is to make with it “your good little majaíto with sand from Caleta, of course, until it comes out watercolor with salt”. But it is even better explained by putting it into practice, with a great Francisco Manuel Lucas on the guitar.
A choreography with the male and female dancers arranged on chairs, showing off synchronization with the castanets, gives way to a round of martinetes between the singers – all three of them very good all night, although perhaps their timbres are too close – El Junco, who offers his dance in seguiriya and bulería in soleá.
Next, one of the best numbers of the night, a charming guajira choreography with the young dance corps in a state of grace, ending with a succession of polo, abandolaos, fandangos and tangos… And I confess that I don't know if I missed something, because at that moment I had to catch the last train to Cádiz, and this is not a poetic license, and write this chronicle.
My carriage, by the way, was full of young people and not so young people, dressed up or half dressed up, on their way to Carnival Friday. Without a doubt our great party, although I was left thinking that, without needing to compete with anyone, the flamenco of Cadiz also deserves a prominent place in our cultural heritage. I am convinced that this Ballet Flamenco of Cadiz, with all the responsibility that this name entails, can help open a new stage for what jondo. What starts well, you know...
Credits
Watercolor with salt, from the Ballet Flamenco from Cádiz
29th Jerez Festival
Villamarta Theatre
March 7th 2025
Stage direction: Pilar Ogalla
Artistic direction: Andrés Peña
Dance corps: Carmen Bejarano, Paula Sierra, Maria Fernandez, Inma Lopez, Aurora Carvallo, Jesus Helmo, David Nieto and Nino Gonzalez
Cante: Reyes Martin, May Fernandez, Maria Jose Fernandez
Guitar: Francisco Manuel Lucas
Palmas and percussion: Roberto Jaén
Guest artists: Juan Ogalla, Juan Jose Jaen “El Junco” and Andres Peña
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