Esmeralda Enrique
¡Lorca! In Search of Duende
Choreographed by Esmeralda Enrique and Juan Ogalla
Part of Harbourfront Centre’s NextSteps 2009-10
Ran November 12-15th @ Fleck Dance Theatre
By Helen Fylactou
Last week saw the second of two recent Lorca-inspired performances in Toronto (see Daina Valiulis’ review of Des Walsh’s Rocking the Cradle). This dance event, however, fused Lorca’s poetry with passion-infused flamenco.
Lorca, a Spanish poet and dramatist, was involved in the Generation of ’27 — a group of artists famous for their avant-garde art movement in Spain. As his work became more successful, Lorca’s personal dichotomy between his fame and love-sick self intensified. Lorca’s better-known plays and poetry explore love, pride, passion, and death. The sold-out performance of ¡Lorca! In Search of Duende connected with Lorca’s intensity and radiated passion, strength and love.
Choreographer and dancer Juan Ogalla opened the evening with the sensational performance entitled Jinete/Rider (Soleta por Buleria). The prominent theme of passion and sex made Ogalla’s presence unavoidable. Accompanied by a live flamenco band, he maintained a rhythmic dialogue between himself and the musicians, and exuded sexual energy that was palpable, commanding attention with rapid footwork that followed the intricate melody. He expertly wended through the music, showing off the control of his upper bodywork and sculpted arm movement. Oozing with masculinity, Ogalla is a dancer of raw talent and virtuosity.
(L-R) Angela del Sol, Paloma Cortés, Ilse Gudiño. Photograph by Hamid Karimi.
Following this captivating performance came the four female dancers: Esmeralda Enrique, Paloma Cortés, Angela del Sol and Ilse Gudiño. In perfect unison, the ensemble’s interpretation of Lorca’s work was vivacious, spiritual, and sensual. Enrique’s artistry was best exemplified in the final performance of the evening Pueblo (Tangos/Tanguillos). Giving a new meaning to musical chairs, this performance gave dancers a chance to show their sense of humour, avoiding the melodramatic characteristics of traditional flamenco. In each solo, the intense zapateado (footwork), the movement of the ruffled garments, and the power in the poise, proved the exceptionally high quality of the dancers and left the audience wanting more.
Dora-award winning Esmeralda Enrique’s performance was outstanding. Both as a dancer and a choreographer she embodies the essence of flamenco. Drawing inspiration from Lorca’s poetry, Enrique adapts her Flamenco Puro style to a more Andalusian gypsy tradition of flamenco. Her clean lines, elegant footwork, handwork and facial expressions were captivating. The vocal styling of Jose Anillo perfectly complemented to Enrique’s dance. His rich, fervent voice and beat-keeping claps helped elevate the evening from great to incredible.
