FUSS

If we dancers were called “singers of spaces” we would make the invisible visible. If the sounds of a guitar were guides on a map, the dancer would use them to guide her body on roads of poetry. If our body used its muscles only to filter emotion through them, we would be eternal showers. And so little by little the dance would stop being so ephemeral, so fleeting, sometimes so technical or so conceptual. It would leave in us the image of the sound and the color of the emotion and perhaps we could even return to the memory of that image every time we wanted to evoke that danced moment like someone who looks at a painting as many times as he wants in an exhibition. The voice of a singer like Antonio Campos gives us the ideal wisdom on which to germinate in bare roots and the guitar of Antonio Suárez allows us to dream and fly in order to be able to converge in a body that shows the paths and trails along which the dance travels in an intimate and necessarily essential flamenco show.

Leonor Leal.