I kinda scrolled through it but the last piece before the encore, called “puro” I suppose, hit the nail on the head. Using the media of the dancer who was well known to be deaf as I part of the piece was a master stroke.
I kinda scrolled through it but the last piece before the encore, called “puro” I suppose, hit the nail on the head. Using the media of the dancer who was well known to be deaf as I part of the piece was a master stroke.
HR
First. I hope you guys are joking. I find what he is doing ridiculously disrespectful to the art.
Next, I don’t usually talk like this about gypsy females out of respect to my friends in the culture (some of whom are constantly questioning me about gypsy girls, like a test), but big crush on Singla. She might have had meningitis at birth but I am not sure how it correlates to hearing loss. More likely she had a learning disability that she over came later, because she was mute and suddenly started speaking (as I understand the story). In the end, nobody with even partial hearing loss can dance to music in constant flux as she does. The percussionist Evelyn Glennie was amazing for feeling the tempo with bare feet and executing Marimba perfectly in ensemble. But flamenco is way different. She certainly could hear even if she had some impairment. There are supposedly healthy eared dancers these days that to be honest, in comparison to Singla, I have to wonder what the heck they are actually hearing in their heads when they dance. [:D]
First. I hope you guys are joking. I find what he is doing ridiculously disrespectful to the art.
How about him with the pedalboard, distortion, etc.?
From a musical perspective, and live sound, I have no issues. First, the piezo is a necessary evil that is NOT worth trying to get around. Either play in an intimate setting, or use the piezo and deal with expressing yourself with the quack. The distortion was a brief effect. I was asked to do this in a dance show at some point, and it worked fine. Theatre productions are more like “plays” on stage, where the actual flamenco parts are the the reason for creating the story, so weird things like smoke, lights, sound effects, etc., are not outrageous. As soon as you enter a theatre it should be known not to expect true flamenco as when you are in a juerga in Andalucia by special invitation only. Rito y Geografia is entirely based on this distinction. With dance, I have seen some get criticized as “tablao dancers” only because they had not done enough “flamenco plays” as I call them, to understand how to use all the wide theatre space. I personally think it is an unfair put down. There is a big difference from doing a “musical” vs simply performing music. Rito has 2 episodes on Caracol to highlight this distinction, with an obvious bias toward the more intimate and traditional setting.
But what the thingamabobby guy is doing is ridiculous to me. It is like trying to be a Picasso without all the previous period work under your belt. If it were Vicente doing this instead, I would say, well…ok, he is really taking it off the rails here. Luckily it is not him, it is some random guy I am not familiar with. Which cantaor is he associated with that I might see his true toque?
Ok, well, as usual, the “cante” is actually the explanation. That Elche is a nut job. Funi is of course acceptable but, he is “funny”. My Picasso analogy is of course literal in this case.
