Granados's Bulerias opened with dancers seated in a row, stamping and clapping the rhythms, then moving first into two groups that merged in a tight flock at center stage. Couples formed from there and began a careo, a passing movement from side to side while facing each other.

Interludio, choreographed by Jason and Mele Martinez, began with two horizontal lines of dancers moving through each other, both towards and away from the audience. Clear, unison foot percussion developed as the dance became a welcoming gesture with dancers' arms reaching forward.

In the following Solo, Marisol Enciniasís fingers articulated individually in grasping, flicking patterns. Strong, forceful gestures of arms, with emphatic thrusts high in the air and downwards, accompanied her fast-paced, clean footwork. She has a self-defining posture, leaning far backwards, then suddenly driving her torso and arms in an over-curving turn.

A male solo, by I believe, Jason Martinez, was accompanied by Joaquin Encinias on drums and cajon. Martinez's tall body and long arms added to the expanded image of flight when he seemed to bank in turns like a large bird. Fluid aerial turns and an elegant, high, sideways hop added to the illusion.

Dialogos was a stunningly beautiful piece in which Encinias worked his choreographic magic with constantly changing groups of dancers. It was a moody work at first, darkly lit as dancers swayed , heads and torsos tilted to the side as though windswept. They repeated an almost baptismal gesture of the arms and hands as dancers moved into twos and threes, hands crossed over the heads of those closest to the audience. The dance progressed in several sections, with smaller groups of five or six taking the lead, one group gliding through another unmoving one, like spirits in front of a starlit sky projected on the back scrim. Small groups traveled across the space in flocks, with perfect unison of rhythmic foot patterns. Music by JosÈ Chuscales Valle, with moving intonation by singer Vicente Griego, added to the choreography's emotive strength.

Encinias himself gave a choreographed introduction to the next piece, another dance without mention of a title, dancing briefly before again moving to the percussion section to accompany the dancers. They entered all in black, arms at the side, with feet pounding out extremely intricate rhythms with the drums. Arms slowly rose above their heads as they danced, then floated downwards. Moments of silence, movement frozen in space, enhanced the drama when explosions of rhythm followed.

Marisol's second solo contrasted sensuous feminine hips, shoulders and flower-like finger gestures, with assertive stamps and chattering taconeo heels.

Dime quÈ te Pasa, translated as something like Tell me what's happening with you, brought the action to even higher levels of intensity. The jazz-influenced rhythms and melody drove a strutting, prowling female group, and three dynamic men in a hot and exotic finale with feet flying into complex syncopation that was a perfect American fusion.

Yjastros will repeat this show in Santa Fe on November 19 at the Lensic Theatre. Call (505) 988-1234 for tickets.

Your Name:

Your Email Address:

Rate this article:
Poor Great

Comment:

BOLD

"QUOTE"

UNDERLINE