CRY

The flamenco dancers from Madrid's Amor de Dios School are young maestros who have, from a tender age, traveled with a suitcase full of hope, books and make up. Their lives consist of spring seasons in Paris, autumns in Vienna, dance schools, work, and respect bordering on adoration towards their teachers. Today is their big moment. This new generation is stepping onto this great stage so that we can learn to love and admire them. They have a lot to say and, both at Suma Flamenca and at the Seville Biennial, they'll present us with their dreams come true.

Grito, (Cry), Alfonso Losa and José Maya's new performance, is a recap of the learning process and evolution both flamenco dancers have undergone, and which they reveal making no excuses. The piece is undoubtedly a showcase of contemporary flamenco. Losa and Maya offer us a complete performance that is balanced yet full of specific details that are clear proof of their stock. At certain points, the piece is like a beautiful battle where the only winner is the audience. After opening with a siguirilla duo, Losa regales us by dancing a farruca with a cane, to which Maya responds with a soleá por bulerías so powerful that it forces his artistic rival to come out with a soleá por derecho from his own repertoire that keeps the audience on edge. Finally, José Maya responds with a fusion of all his flamenco expertise, offering us a master class in which all the flamenco palos (styles) merge together in order to put all the artist's best on stage. And both flamenco dancers close with a duo of jaleos that reveal what Grito (Cry) truly is: a celebration of our most profoundly rooted art form.