Luis Adame: Something more remembering Carmen Amaya

Luis Adame: Something more remembering Carmen Amaya

That Carmen was ahead of her time is undoubted. Incorporated a technical speed mixed with a wild and natural fiber, pure gypsy. Rhythmic richness and different accents. Sense of the show, something so difficult to make flamencos understand ... and about purity?

If purity were fidelity to instincts, Carmen was pure. I saw her, daily at the Teatro de la Zarzuela many years ago. His dance was like out of Somorrostro, shredding and breaking. For ill or for good Carmen was not related, or not linked, as Antonio Mercé, La Argentinita or Vicente Escudero, with literary or intellectual circles, neither for good, nor for evil. He traveled with a family prole (How many family?) Moving his life circle and setting up his Somorrostro Mediterranean camp, if necessary, in New York. It was a way to shield his spirit.

Observing the individual and collective behavior of our society, it would be worthwhile to have known the psychoanalysis of Carmen, a human being of lived wisdom, who knows how to discern between the fundamental and the superfluous. Perhaps in this word, FUNDAMENTALS, is the key to his emphatic security and his intelligent anarchy.

We have 3 great dancers to show us the enormous aesthetic spring of Carmen. Pastora's mockery and taranto, of premeditatedly imitative metabolized gestures. The genetic family natural school of Karime Amaya. And if you have to bring savagery and beauty together there is the gaditana Paloma Fantova.

This is the aesthetic kaleidoscope of Carmen that we intend to transfer to our time. We come from him and we are aware of it.


Luis P. Adame


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