Five years later, La Unión returned to receive Los Vivancos with fervor. Between clapping and standing, the Cante de las Minas audience accompanied the dancers throughout their performance, with a play of light that illuminated their heel tapping on the wood. The night was pure spectacle.
Los Vivancos Live is the most personal production, in which they bring together the best of their three shows: ‘7 brothers’, ‘Aeternum’ and ‘Nacidos para Bailar’. Contemporary dance, folklore, martial arts and ballet also merged with flamenco airs, leaving the public speechless. But not everything was dancing: the attitude of these brothers and their elegance made the night a kind of movie scene where romantic fantasy was not lacking. Music was largely to blame, with some very well chosen pieces, for which they have surrounded themselves with producers such as Joan Martorell and Fernando Velázquez.
They came out on stage to the rhythm of a somewhat different ‘Smooth Criminal’, with six silhouettes simulating the figure of Michael Jackson, each one with an instrument creating a black and white scene that began to heat up the atmosphere. It was Judah who was left alone on stage after this first impact, with pure tapping of heels in an elegant way, accompanied by lighting that seemed to transform Esteban Bernal’s set design into an immense maelstrom of blue and white lines of light that crossed from one side to the other. another the stage.
The castanets marked the return of the six dancers to the stage, giving way later to acrobatics and a contemporary touch. The cajón also had its leading role, as an instrument and as a base for Josua to tap his heels and give a hypnotic leap to an audience delivered to the expectation of the moment.
Metallica’s classic, ‘Nothing else matters’ gave an oriental touch to the night, and clapping accompanied a blindfolded choreography, where the audience held their breath to break into applause at the end of the show.
Awarded
The cultural agenda for Monday at Cante de las Minas was marked by the awards ceremony for this 62nd edition of the festival. The ‘Trovero Marín’ award, a distinction that pays homage to the father of the trovo, José María Marín, went to the Villanueva de Tapia International Poets Festival. The mayor of the town in Malaga, Dionisio Aguilera, received the award in front of a packed assembly hall of the Casa del Piñón.
The ‘Rojo el Alpargatero’ award, named after the father of mining cante, went to the Sucina flamenco club. For its part, the Corral de la Morería, an institution related to the La Unión contest, received the ‘Esteban Bernal Velasco’ award.
Years ago, the singer from Union Pencho Cros became a memory of the city of La Unión. However, his spirit is still present through the awards that bear his name and that recognize “all those people and entities that make the world of flamenco great”. In the work of patronage, Lorquimur has been able to understand the important commitment that companies have with society.
Regarding dissemination, the Cante de las Minas recognized the Rivas Flamenca Festival, an initiative that stands out for its “brotherhood with La Unión”, according to its director, José Antonio Andújar, who took the opportunity to show his wish that “the winners of each year of the Cante de las Minas form part of our poster and share it with the great names of the genre that come here every year»; something that already happened in the year 2021.
Those ties with the Las Minas International Cante Festival also extend to the figure of the Sevillian guitarist Eduardo Rebollar, awarded for his informative work. Nervous, due to his habit of always being accompanied by his guitar when going up on stage, he collected the award in the company of bailaora Yolanda Lorenzo, dedicating the award to the mothers.
If the popularization and diffusion of flamenco are essential tasks, its conservation is no less important. People like Carlos Martín, recognized for maintaining and preserving one of the most important sound collections in the country, are in charge of it. It was Manuel Bohórquez who received the last ‘Pencho Cros’ for his work as a researcher, an aspect “abandoned by the institutions”, which he thanked the Festival for recognizing.
The carbide illuminated the miner in the darkness of the gallery. In the same way, it happens with the Chair of Flamencology of Córdoba and the journalist from Cuenca Rafael Manjavacas, two pioneers who have illuminated the path of flamenco in two areas as disparate as journalistic and academic.
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