01 Nov Obdulia Bustos
Residency Program: July 2022
Obdulia shows an installation and a performance inspired by the dance piece she is developing “Las amantes” (The Lovers)
The work is a journey along her feminine lineage, which, with a unique language, she expresses through the genealogy of flamenco.
Her choreography begins with “Cantes de la Trilla” a flamenco style associated with rural work in the fields with a melodic resemblance to the lullaby. Thus she composes the figure of “grandmother” and a time of hard work and a certain innocence. She finishes drawing this figure with a Martinete -a modality of the toná and one of the main cantes of flamenco.
In this way, she portrays “the grandmother” as a pillar of the traditional family – the mediator, the matriarchal lover, the submissive or subduing one, the one who is silent and the one who shouts, the one who plays when her husband does not see her. .
A composition that takes us from suffering to joy until we leave behind this ancestral time that we lost in a change of generation.
The Seguiriya and the Soleá por bulerías -one of the deepest cantes, with a strong dramatic character, a slow and heavy beat, but which lightens with the rise through bulerías- combines rhythm and beat, with sentimental melodic cadences. With them she brings us the figure of “the mother” -a modernity achieved in a very different way according to the places, opening a great gap between the urban and the rural world. “The mother” is the creator and the sufferer. With these music genres she makes us go through the conflict between generations at a time when for the new ones, everything seemed possible, and after the great social movements of the previous generation it was time to put into practice the claims and acquired rights.
Reconciliation with “the mother” is often reconciliation with oneself. To the sound of Fandango we delve into the emotions of the loving couple; from this detachment and love of the mothers, to the chosen love itself. It’s time to play, discover, love and break to love again. Sex, passion, fun but also promises, commitments and life projects.
The piece closes with an electronic version of “Todo es de color” and a deconstructed version of “Ave María”. Thus, Obdulia dances a Manifesto of a woman made sovereign, with authority, independent, who feels free after the evolution of all known and experienced generations during her life.
We are all lovers, understanding, accepting, loving ourselves, are the keys that hold us before and after our relationship with others.
Eduardo López: Threshing
Ignacio Fernández: composer of all musical pieces and arrangements
Javier Paxariño: Airs of the Moon
Ángeles Rusó: Everything is colored
Melissa Ryke: Ave Maria sound design arrangement
Selene: final projection design
Costume designer: José Galvãn Seville
Costume subsidy aid: Association of Artists of the Canary Islands Pie de Base movement
Residences: Ernesto Artillo, Agua Amarga Almeria
Rocío Pozo, Las Palmas de Gran Canaria
Premiere in October: Tenerife. canary islands
This residence has been covered with our Company’s own resources. Flamencuría Obdulia Bustos, but our association PIE DEBASE Canarias is collaborating in the project where I received a small budget for the creation IN – AND – OUT for this 2022, which we invested in the cost of LAS AMANTES’ costumes.
