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Información acerca de la bailaora Fuensanta La Moneta
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LA MONETA
Foto by Edward Olive
La Moneta's eyes have the intense artistic zeal of someone born to dance. Her gaze, deep and forceful, renders the audience senses supine, driving them into some sort of Stendhal syndrome of difficult treatment.
These are eyes that stare at every single one of the spectators with determination, but looking at no one; they glance at the past and the future, at the thousand mirrors that precede and accompany her.
Silent, just like an ice sculpture were she not burning, Fuensanta La Moneta starts her dance, listening to the music before she moves. It has to be said, this young "granadina" dances to the singing, she responds to the guitar. Sometimes, she dances in silence, making music with her heels or her toes, or ripping the air with the movement of her arm. She is a harmonious whole. The music and the dance merge together like siamese twins.
And, after the introspective force, comes the rapture, the precission footwork on the beat, which has a lot of improvisation, of soul. It is time now for the display of pure blood; some snippets of her "sacromonte" school are shown with a special delicacy. She channels her innate verve. Technique, repose and understanding are additions to her natural strength, intuition and dramatic quality.
With a long train dress, a short dress, a light dress or a nightgown "Fuensanta" shakes, maintains the tension, her whole body beats. And, at the end, she leaves unfinished, with the same freshness with which she began, as if warning us that she could continue. This is part of her truth. Words really fail to describe her "soleares", "seguiriyas" or "farruca" dancing styles. One has to see her, feel her and enjoy her in order to get a glimpse of her talent, her passion, her authenticity.
Her proposals are both old and contemporary, thoughtful and unpredictable, rational and foolish. But, above all, "flamencas", very "flamencas".
Jorge Fernández Bustos
BIOGRAPHY
Fuensanta Fresneda Galera Fuensanta “La Moneta”. Flamenco Dancer. Granada 1984.
Fuensanta 'La Moneta', is an example of an artist who discovered her vocation early. Her passion for flamenco began during her childhood. Because of her devotion and natural talent, she earned her place in the famous Zambras and Tablaos (flamenco theatres) in the Sacromonte of Granada while she was still a young girl. She also performed at concerts organised by television and radio companies and won many important awards.
La Moneta combines her studies with her work in 'zambras' and 'tablaos' to pay for her dancing training in courses tutored by the best teachers Javier Latorre, Mario Maya, Juan Andrés Maya, Juana Amaya, Matilde Coral, Israel Galván among others.
When she danced in Madrid for the first time at the age of 16 in the Sala Suristán in Madrid, every fan and critic who saw her there conceded that they were looking at someone who had all the qualities to become a big name in flamenco dancing. Following this performance, the flamenco magazine Alma 100 interviewed her and issued her on the cover, purporting her as the most outstanding flamenco dancer born in the eighties. Since then, Fuensanta la Moneta has danced in the most prestigious flamenco clubs, in a large number of flamenco festivals and in the theatres of several countries in Europe, Asia and America.
She joined Javier Latorre's Company to work in the flamenco ballet plays "Triana, en el nombre de la rosa" and "Rinconete y Cortadillo". She also took part in the flamenco show "Homenaje a Fosforito" (Homage to Fosforito) in the Cordoba National Competition, and in the movie "Por qué se frotan las patitas" (Why do they rub their legs) by the director Álvaro Vegines.
– She premiered the flamenco suite "Lo que trae el aire" in Los Veranos del Corral 2006.
– In the Bienal de Flamenco de Málaga in 2007, she premiered the flamenco dance play "De entre la
luna y los hombres" directed by Hansel Cereza.
– In Los Veranos del Corral 2009 she presented, together with the flamenco dancer and
choreographer Rafael Estévez, a flamenco experience with the title Estévez & La Moneta.
– In the Bienal de Flamenco de Sevilla 2010, she premiered the flamenco suite "Bailar, vivir".
– In the Festival Internacional de Música y Danza de Granada 2010, she premiered "Extremo
Jondo".
– In the celebrations of Corpus Christi in Granada 2012, she premiered "Muy especial".
– In the Bienal de Flamenco de Sevilla 2012, she premiered "La Moneta, paso a paso".
In 2011 she collaborated with composer Mauricio Sotelo at the premiere of the play "Muerte sin fin", based on the poem by Jose Gorostiza, released as a compact version at the Muziekgebouw in Amsterdam for the Dutch Flamenco Biennale, and as a full version at the Teatro Real de Madrid for the Suma Flamenca. She also collaborates with the world premiere of the play "Luz sobre lienzo" by the master Sotelo in the Auditorium 400 at the Centro Nacional de Arte Museo Reina Sofia to commemorate the 200th anniversary of the Constitution of Cadiz "La Pepa".
In 2003 she won the National Dance Competition prize "El Desplante" at the Festival de Cante de las Minas de La Unión.
In 2008 she was awarded the first prize "Young Artist" at the Torrelodones Flamenco Festival, Madrid.
In 2010, the Spanish association of journalists specialized in flamenco awarded her the "Premio Flamenco Hoy" to the best dancer in 2009.
In 2011 the flamenco club El Taranto of Almería, awards her the Premio El Taranto for the best flamenco show of the year in Almeria.
Fuensanta 'la Moneta' not only has acquired, among her artistic strengths, a deep expressive dramatic quality, an incredible mastering of compás (the intricate flamenco rhythms), a large variety of registers, a wide knowledge of cante (flamenco singing forms), but she also has an innate talent that allows her to dance, even the most difficult styles, as easily as she breathes an ancient form of art, and although her approach seems contemporary, her dancing style seems as ancient as the flamenco that flows through her veins.
The most relevant performances
2006
PERFORMANCE ' FLAMENCO VIENE DEL SUR'
AT THE TEATRO CENTRAL DE SEVILLA
PERFORMANCE "NOVISIMOS" AT THE JEREZ
FESTIVAL, TEATRO DE GUADALCACIN.
PERFORMANCE ' FLAMENCO VIENE DEL SUR',
AT THE TEATRO JOSÉ TAMAYO DE GRANADA.
PERFORMANCE AT THE GALA AWARDS 2006
PERFORMANCE AT THE COLLEGE OF SAN
JUAN EVANGELISTA IN MADRID, THE XVII
FESTIVAL FLAMENCO POR TARANTOS OF
MADRID.
'FLAMENCO TIENE NOMBRE DE MUJER' IN LA
ZUBIA. GRANADA
PERFORMANCE AT THE FESTIVAL FLAMENCO
DE CIUTAT VELLA DE BARCELONA.
PERFORMANCE AT THE FESTIVAL CAJA
MURCIA.
PERFORMANCE AT THE CORRAL DEL
CARBÓN. GRANADA
SEASON OF FLAMENCO IN MOTRIL. GRANADA
FLAMENCO FESTIVAL OF BERLÍN,
ROVINJ INTERNATIONAL MUSIC FESTIVAL
(CROATIA)
BIENAL DE FLAMENCO IN SEVILLA
FESTIVAL DE LA MISTELA. LOS PALACIOS.
SEVILLA
2007
USA FLAMENCO FESTIVAL. New York (City Center)
Washington (Lisner Auditorium)
LONDON FLAMENCO FESTIVAL
FESTIVAL FLAMENCO DE NIMES. FRANCIA.
FESTIVAL FLAMENCO DE GINEBRA. SUIZA.
FESTIVAL FLAMENCO DE TOULOUSE. FRANCIA
GRANADA FLAMENCO.
SUMA FLAMENCA MADRID.
LOS VERANOS DEL CORRAL. GRANADA
BIENAL MALAGA EN FLAMENCO
2008.
CIRCUIT ANDALUSIAN CAJA SOL. 18 ACTIONS
SEASON OF FLAMENCO IN MALAGA. TEATRO CANOVAS.
SEASON OF FLAMENCO IN JAEN. TEATRO INFANTA LEONOR
FESTIVAL FLAMENCO LISBOA. PORTUGAL
FESTIVAL FLAMENCO LA MISTELA, LOS PALACIOS. SEVILLA
FESTIVAL SUMA FLAMENCA. MADRID
NAPOLI TEATRO FESTIVAL
LOS VERANOS DEL CORRAL – X MUESTRA ANDALUZA DE FLAMENCO
BIENAL DE FLAMENCO DE NEDERLAND
FESTIVAL FLAMENCO DE TORRELODONES. MADRID
Foto by Paco Manzano
2009
LOS JUEVES FLAMENCOS DE CAJASOL. SEVILLE
JEREZ FESTIVAL. JEREZ
FUENLABRADA FESTIVAL. MADRID
FLAMENCO BIENAL IN SALZBOURG. AUSTRIA.
TEATRO DE LA ZARZUELA BALLET SEASON. MADRID
CENTRE DES ARTS PLURIEL ETTELBRUCK. LUXEMBURGO
MONT DE MARSAN. FRANCE
LOS VERANOS DEL CORRAL. GRANADA
FESTIVAL DE ROMA. ITALIA
2010
JUEVES FLAMENCOS DE LA FUNDACION CAJASOL. SEVILLA.
TEATRO ISIDORO MAIQUEZ. CAJAGRANADA.
AUDITORIUM MUSEO REINA SOFIA. MADRID.
AUDITORIUM DE AVIGNON. FRANCIA
FESTIVAL INTERNACIONAL DE MUSICA Y DANZA DE GRANADA
BIENAL DE FLAMENCO DE SEVILLA
NEDERLAN FLAMENCO TOUR
FESTIVAL FLAMENCO DE GINEBRA. SUIZA.
2011
CLOSURE DE LA BIENAL DE FLAMENCO DE NEDERLAN. COLABORANDO CON EL COMPOSITOR
MAURICIO SOTELO.
GRAN TEATRO DE HUELVA
TEATRE MUNICIPAL DE ESCH. LUXEMBURGO
FESTIVAL FLAMENCO DE MARSELLA
TEATRO DEL CHATELET DE PARIS.
FESTIVAL FLAMENCO DE ALBUQUERQUE. USA
PRIMAVERA FLAMENCA DE TOKIO.
SUMAFLAMENCA. TEATRO REAL DE MADRID.
REUNION DE CANTE JONDO DE LA PUEBLA DE CAZALLA. SEVILLA.
FESTIVAL FLAMENCO DE CHATEAUVALLON. FRANCIA.
LOS VERANOS DEL CORRAL. GRANADA
AUDITORIO 400 DEL CENTRO NACIONAL DE ARTE MUSEO REINA SOFIA
2012.
. FESTIVAL FLAMENCO DE NIMES
. FESTIVAL DE JEREZ
. TEATRO LOPE DE VEGA. SEVILLA
. TEATRO CIRCO DE MURCIA
. ARTFEST DE MONTERREY. NUEVO LEÓN. MEXICO
. FESTIVAL FLAMENCO DE PARIS. TEATRO LA VILLETTE.
. FESTIVAL SUMA FLAMENCA DE MADRID. TEATROS DEL CANAL.
.FESTIVAL PUNTO FLAMENCO DE MILAN.
. FESTIVAL FLAMENCO DE RIVESALTES. FRANCIA.
. BIENAL DE FLAMENCO DE SEVILLA.
Fuensanta “La Moneta”
PRESS REVIEWS 2004
ABC. 3/2/2004. Alberto García Reyes.
"... the Source, Saint Moneta"
GRANADA HOY. 4/2/2004. Jorge Fernández Bustos.
"...La Moneta dances seguiriyas that provoke tears and laughter of pure emotion
from the audience..."
IDEAL. 4/2/2004. Carlos Arbelos.
"...if anything charactreizes her way of dancing it is the vital passion and the
sweeping force that she stamps upon her choreography..."
EL MUNDO. 5/4/2004. Manuel Martín Martín.
"...disturbing rhythms and surly suggestiveness but flamenco till it hurts..."
2005
EL MUNDO. 5/2/2005. Manuel Martín Martín
"... this woman from Granada makes us feel as if we had made an unexpected
discovery through her authentic representation of intimate devotion...”
ABC. 1/10/2005. Manuel Ríos Ruiz.
"... a spirited dancer, who feels the joy of what she does, exceptional in the
zapateados, tense in her arm gestures, she seeks the intensity of brilliance, and
she achieves it with her wide repertory of postures, movements, sweeps, steps and
stamps..."
EL PAÍS. 3/10/2005. Ángel Álvarez Caballero.
“... She enters the dance slowly, as if she were thinking about what she will do, and
suddenly lets loose a zapateado with such force, control and at great speed. All of
her dance is like this, done with determination and done very well... "
EL MUNDO. 4/10/2005. Alfredo Grimaldos.
"... nowadays, when flamenco dancers are doing well-rehearsed routines, it's
refreshing to find a young artist who dares to be different. And she does it
convincingly …”
DIARIO DE SEVILLA 22/2/2006. Juan Vergillos.
"...art of suggestion, of possession. Art that breaks you on the inside... "
DE FLAMENCO.COM 28/2/2006. Estela Zatania.
"......she is, as her nickname suggests, a beautiful young woman, but if we're
unable to take our eyes off her, it's mostly because of her wonderful dancing...."
INFORMACIÓN DE JEREZ. 28/2/2006. Pepe Martín.
"... After seeing her yesterday," the Moneta" demonstrated she has before her a
future full of success..."
DE FLAMENCO.COM 23/4/2006. Manuel Moraga.
"... dancer from Granada who has all the makings of a major star of flamenco
dance. She's original and expressive and finds new ways of charging her dancing
with powerful emotion.... "
FLAMENCO WORLD. 23/4/2006. Silvia Calado.
"... she gives each style exactly what is required, from her gestures to her
choreography..."
Foto by Paco Sánchez
EL PAÍS. 24/4/2006. Ángel Álvarez Caballero.
"... She has an intuition for the dance like a total discipline to which she must give
herself body and soul..." "... she was immense in everything, immense..."
DE FLAMENCO.COM. 9/7/2006 Stela Zatania.
“... each gesture of that petite body of hers is driven by a deep inner life that only
the greatest artists have.”
IDEAL. 28/7/2006. Carlos Arbelos.
"... it was impossible to determine who enjoyed this dance more, the audience who
was admiring her or she herself with her fellow performers, her face full of
happiness, you could feel her growing on stage..."
DIARIO DE SEVILLA. 30/9/2006. Rubén Gutiérrez.
"... she delighted us with her Alegriás in her bata de cola ( flamenco dress with a
long train), she gave feeling to the farruca dressed in a trouser suit and her
compass set a standard in her emotive seguiriyas ..."
EL MUNDO. 1/10/2006. Manuel Martín Martín "... La Moneta left a very good impression. Most noteworthy is her unusual aesthetic, a concept we've come to associate with Juanillo el Gitano whose every pore seemed to cry out as when grief cuts a swath of pain through your soul, smelling of the fresh earth where you were born, but also of the primal broth in which molten bronze tempered pain.... "
ABC. 30/9/2006. Alberto García Reyes. ",,, Extremeño's singing put a magic carpet beneath her feet. Dance whatever you want girl, but dance. And did she ever. The farruca, where she was much more stylized, less primitive, left no doubt about her excellent preparation. But Moneta's greatest asset is precisely the ability to forget what she knows, forget what she did in rehearsal. Her rebellious siguiriya is the proof..." "La Moneta is an example of freedom.”
FLAMENCO WORLD. 30/9/2006. Silvia Calado. “... Dressed in a flaming red dress, the dancer switches to seguiriyas. She only needs the clapping trio –undisputed stars of this Bienal– to initiate her performance in triangular formation. Ducking down, and keeping her eyes on the ground, she tears her dancing against long rests, incredible outbursts of strength and charm. Long live the young blood… and the youth with roots.”
DE FLAMENCO.COM. 28/10/2006 Stela Zatania. “... Her subtle expression marked with brilliant outbursts…”
LA FLAMENCA Nº 18-2006 Oscar Sánchez. “... Fuensanta La Moneta, accompanied by the singing voice of José Valencia, radiated a strength and a spirit that left us all bewildered. La Moneta danced. Los Palacios became silent and the magic of flamenco had the floor.”
DE FLAMENCO.COM. 28/10/2006 Stela Zatania. “... No one remains indifferent in the presence of La Moneta…” “… Wearing a plain red dress, lacking sleeves and train, La Moneta appears, her tweaking and her flamenco spirit moving the audience again and again…” PASEO (revista japonesa de flamenco) Covers of issues 7 and 12, 2006.
FLAMENCO WORLD. 23/1/2007. Silvia Calado.
“... There wasn’t enough room to swing a cat at the Odeon. No enthusiast for miles around would have wished to miss what was being revealed in Nîmes. La Moneta exceedingly fulfilled the noisy audience’s expectations…”
GRANADA HOY. 4/5/2007. Jorge Fernández Bustos.
“... Following thorough research, after endless hours of rehearsals, that precious jewel, La Moneta, acquiring the shape that will set her ultimate value, is polishing herself slowly but holding on to her intuition. Creative spontaneity, flamenco beats leading her… The outcome is a profound dancing performance in which the dancer lets herself go, but appears more introspective than she’s ever done before…” JONDO WEB. 12/5/07. Ángel Lacalle.
“... Her background is marked with the Granada styles, acquainted with the fiesta, dazzling people of all ages with its mysteries…”
EL PAÍS. 12/5/2007. Ángel Álvarez Caballero. “... She danced like an angel. Her seguiriyas reached one’s soul. Strength, confidence! She is petite, but on stage her presence is overwhelming. When dancing seguiriyas, one feels like burning inside. She kept a restless rhythm, reaching a stage of ecstasy rarely seen on stage. It seems impossible that such an apparently fragile person can maintain a state of tension so evenly within a frame of steps, turns and poses. La Moneta makes it possible and so natural; the audience, bewildered, enjoyed a night in heaven.” GRANADA HOY. 17/8/2007. Jorge Fernández Bustos.
“... A farruca dancing style –well known to its connoisseurs– refined to perfection by La Moneta…” “… It is a mature dancing style, calm, full of rests and complicity. Parallel to the times. A style that goes hand in hand with the vanguard…”
DIARIO DE CÓRDOBA. 17/9/2007. Francisco del Cid.
Eutopia. Córdoba
"...La seguirilla, donde alcanzó el pináculo de su propia capacidad expresiva
volcando todo su caudal hondo en cada desplante, movimiento o taconeado, ante
un público subyugado y sobrecogido por el baile de esta granadina de apariencia
frágil..."
EL MUNDO. 20/9/2007. Manuel Martín Martín.
Bienal Málaga en Flamenco.
".. Son, empero distintas formas de estimulación a las que recurre La Moneta para
provocar sentimientos sinceros, tal que tratar cada baile con la franqueza que
demanda su historia, no perder el dibujo tonal que le traza Eva Durán, ejecutarlo
con amor y afecto, desarrollarlo con ternura o coraje, según proceda, y jugársela
luego en las mutaciones, contrastes y resoluciones. Así, y no de otra forma se
incentivan los sentidos..."
GRANADA HOY. 7/12/2007. Jorge Fernández Bustos.
Teatro Isabel la Católica. Granada
“… La bailaora ocupa el escenario sin dejar de transmitir: fresca, apasionada, sin
fisuras…”
IDEAL. 7/12/2007. J. M. ROJAS
Teatro Isabel la Católica. Granada
“…combinación majestuosa de todos los elementos corporales hasta que se queda
sola y la luz se apaga. El público rompe en aplausos…”
LA OPINIÓN DE GRANADA. 7/12/2007. JUAN PINILLAS
Teatro Isabel la Católica. Granada
“…La Moneta, que posee una importante capacidad interpretativa que alcanza el
clímax con esas miradas profundas, inmersas en no sabemos que espacios infinitos
(¿Qué verá el artistas en esos momentos sublimes?) depuró una coreografía que
aunó detalles personales, detalles granadinos y sevillanos, que observamos
especialmente con la bata de cola y el abanico, aunque por encima de todo, una
visión personal de la danza y los elementos coreográficos, como siempre,
arrolladora…”
DEFLAMENCO.COM 7/12/2007. Estela Zatania
Teatro Isabel la Católica. Granada
“… encuentra su verdad bailaora apoyándose en un compás infalible, un excelente
sentido coreográfico y su sensibilidad flamenca…”
IL MATTINO. 26/6/2008. Enrico Fiore
Festival Internacional de Teatro de Nápoles. Italia
“… Davvero, cosí, la notte é quella di Novalis: la “regina del mondo”, “l´eccelsa
annunciatrice dei Mondo Sacri”. Ma in un certo punto, ed ecco l´alto approdo dello
specttacolo, Fuensanta si guarda ballare in un video. Ed é como infastidita. Perché
sa che ci tocca la materia di cui son fatti i sogni, ma sa pure che, ala fine, la nostra
baccheta magica dobbiamo spezzarla. Calato il sicario, ci aspettano i giorni e le
ore.”
ROMA. 26/6/2008. Francesco
Urbano.
Festival Internacional de Teatro de
Nápoles. Italia
“…De entre la luna y los hombres
sublima la libertá dello spirito
femminile e lo fa attraverso l´amore, la
solitudine, la nostalgia, il coraggio, in
dialogo fra loro, un dialogo che alla
fine, semplicemente, definisce e
purifica i colori del flamenco…”
GRANADA HOY. 17/8/2008. Jorge
Fernández Bustos.
“…She danced, her movements flowing
torrentially. Pandora’s Box opened and
thunder stroke. An electrifying storm
beguiled the audience. Her heel
tapping, coherent and precise, pure
music…”
DEFLAMENCO.COM 17/8/2008 Antonio Conde
“…Her dramatic dancing style is troublesome. It is an old style, rich in expressivity, pure and appealing. She is one of those dancers who adds truth to her dancing. She doesn’t display a learned choreography. She actually feels what she does, and one can easily see it. She is pure energy…” “…La Moneta’s style of dancing must be written in capital letters…”
IDEAL. 17/8/2008. José Manuel Rojas
Los Veranos del Corral
“…Fuensanta La Moneta clausuró magistralmente los 10 años de flamenco en el
Corral del Carbón con un espectáculo donde reunió al que, posiblemente, haya sido
el mejor cuadro de todos los presentados en esta muestra y una de las propuestas
de baile más impactantes y arrebatadora…
AD. Rotterdam Cultur. 10/11/2008 Hans E. Merts
Bienal de Flamenco de Holanda
“…Fuensanta La Moneta danst met enorme passie
ROTTERDAM - Intens, sierlijk en krachtig.
In ieder geval met een enorme passie zijn de bewegingen van Fuensanta La
Moneta, een van de parels van de Flamencobiënnale die deze editie voor het eerst
ook Rotterdam heeft aangedaan. In een ruim gevulde, maar niet uitverkochte
Doelen, werd afgelopen weekeinde het podium omgetoverd tot een dorpspleintje
waar de aanwezigen getuige mochten zijn van een samenkomst van twee
gitaristen, twee zangers en de begenadigde flamencodanseres.
Verschillende stijlen binnen de flamenco passeren de revue. Vanuit stilte wordt
langzaam opgebouwd. Handgeklap en zang van Miguel Lavi en David El Galli zetten
aan. Het lijkt wel of de diepste zielenroerselen van deze mannen van trots worden
blootgelegd. Al snel komt een antwoord van de gitaar. Het is de beurt aan Miguel
Iglesias en David Carmona, die bij tijd en wijle fabuleus gitaarspel aan de dag
weten te leggen in deze opmaat. De onvermijdelijke uitkomst van dit opzwepende
spel van jammerende zang, ritmisch geklop en geklap en technisch hoogstaand
gitaarspel is de komst van een vrouw in dit mannentafereel. Eindelijk, daar is ze:
Fuensanta La Moneta. Met een houding alsof zij weet dat haar aanwezigheid de
ontbrekende schakel is, zet zij haar eerste schreden op het podium, wat direct het
hare is.
Subtiel zijn haar handdraaiingen, vrouwelijk haar lijfbewegingen en gedecideerd het
voetenwerk. De chemie tussen zang, gitaar en La Moneta is betoverend. Dit
gezelschap weet te roeren en te vervoeren. Een keur van stijlen, schitterende
jurken en melancholische schoonheid trekt aan de dankbare toehoorders voorbij.”
DIARIO DE SEVILLA. 30/1/2009. Juan Vergillos.
“…La Moneta has gained access to the club of the privileged, and by that I mean this handful of artists capable of making us shiver down the spine…”
EL MUNDO. 31/1/2009. Manuel Martín Martín.
“…La Moneta is destined to reach glory. She confronts her dance with plain humility, without vain décor, and solves stage problems like a cyclone. She does so with such ease that one cannot but allow oneself to be swept away by her energy, her talent and her dreams; the inner world of an artist leading to the miracle of a glorious finale…”
ABC. 1/2/2009. Alberto García Reyes.
“…When she danced the seguiriya, the effect was a constant flame leading to pure fire, and a helpful hand to get El Extremeño out of the cave of Sevillian oblivion…
FLAMENCOWORLD. 5/3/2009. Silvia Calado.
Festival de Jerez
Quizás la pega es que este sobredimensionar el espacio, usando toda la altura de la
caja, empequeñece a la solista, que ha de redoblar esfuerzos para crecerse y
concentrar la atención del espectador. Aunque ese peligro sólo se roza en algún
momento, pues La Moneta se basta para ser centro. Tiene en este espectáculo la
novedosa capacidad de ser muchas más bailaoras de las que hasta ahora ha sido.
La sensualidad, la dulzura, el dolor, la fuerza, la violencia y la debilidad se conjugan
en sus movimientos, en sus potentísimos ojos y en el difícil acto de caminar por la
tabla, asumiendo los dramas y satisfacciones de esas otras mujeres por las que
aquí se preocupa. Abandolaos, guajira, farruca, soleá, bulerías y seguiriyas son las
formas que aquí toma, casi sin respiro, su danza… y también su pensamiento.
LA VOZ. 6/3/2009. Antonio Conde.
“…She vanishes between the sheets whilst giving away the crystalline purity of a
dance that irradiates a shaking tremor.
Her face shoots meaningful random looks. The fan is sustained in the guajira, the
warm Cuban rhythm is imposed upon. When the farruca comes on stage, the
dancing rhythm seizes her. A glimpse of Carmen Amaya seems to take shape
around her. She wins the battle against the dancing forces dressed in trousers and
a bare back. Her roots get tangled up with the motion of a heavy loaded
flamenco…”
DIARIO DE JEREZ. 6/3/2009. Francisco Sánchez Múgica.
“…I like how La Moneta dances. Her changes of rhythm, her clever combination of
climax and anticlimax, the up and downs of her rollercoaster-like dancing. I value
her dramatic capacity and, specially, the way she fully masters her body from head
to shoulders, from waist to naked toes. I admire that latent temperament she
embraces; that expressive force she holds, like a geyser at the point of eruption;
the way she exudes fire when she lifts her nightdress up. I love the way Fuensanta
moves. Delicate and sensual, thoughtful and silent, racial and explosive. I just like
the way she dances…”
SALZBURGER NACHRICHTEN. 9/3/2009. Karl Harb
“…This flamenco night with La Moneta, passion and soul, together with her
accompanying singers and guitar players, awoke in us a strong desire to discover
flamenco in more depth …” “…Fuensanta and her accompanying group represent
pure force and truth of flamenco…”
EL PAIS.COM. 12/3/2009. Ángeles Castellano
“…Dressed in a plain white nightdress for most of the performance, La Moneta
masters the stage with her dance. She proficiently uses the space and knows where
to place herself…”
“…With strength, listening to the sound of silence, placing her arms and making
space for her heel tapping, La Moneta pretends to be a bull fighter with her
dancing, daring, far from showing off, just in place…”
LA RAZÓN. 15/3/2009. Balbino Gutiérrez
“…75 minutes of authentic dancing display with no more breaks than a few
moments of silence, this also being part of the dance. She was the performance,
accompanied by a supporting efficient group and the beautifully adecuate singing of
the Malaga born Eva Durán. Artistically brought up in the Granadine Sacromonte,
Fuensanta renders homage to the first half of her name, “fuente” (source), because
she is an authentic source of dancing style. Rooted, sensual, synthetic dancing – for
she fine tunes the racial excess and adds evolved artistic elements…”
ABC. 17/3/2009. Manuel Ríos Ruiz
“…She masters her stylistic knowledge to perfection, foregrounding her signature
on each flamenco style. La Moneta develops a complex programme in ‘Entre la luna
y los hombres’. From the very beginning, in the scene ‘Cal’, she displays her quality
and knowledge in the malagueña, rondeña and jabera styles. Then she brings
forward a singular guajira under the name of ‘Perdedora’, followed by a taranta
style, which gives name to the play; making way to a farruca, ‘Sueños’, a true
personification. Finally, La Moneta excels herself with her temperament and her
natural born depth through soleares, bulerías and siguiriya styles. The Granada
born dancer is a true rooted artist, inspired in the immortal aura of Carmen Amaya,
who foregrounds her devotion and the love for her artistic intent…”
ELMUNDO.ES. 20/3/2009 Abraham García.
Teatro de la Zarzuela. Madrid
“..El pasado sábado y acomodado entre dos bailaoras (privilegio que fue como
presenciar la goyesca de Ronda entre Curro y Antoñete), me premió la fortuna con
el lenguaje ancestral y nuevo de la mejor bailaora que este aprendiz de palmero
haya admirado en su jaleada vida.
Cuando la luz azoto el escenario descendió un oleaje de sábanas que parecían
colgadas de las nubes, Azoteas del alma, caricias de seda, que contrastaban con el
quejio de una voz rota que nos devolvió a las cavernas.
Sobre aquella bahía de Sorolla, apareció por malagueñas Fuensanta (¿cabía mejor
nombre?), La Moneta. Descalza y algo más vestida que las azucenas, nos ganó
desde la primera mirada. No se puede interpretar el baile con mayor sensualidad y
pureza. Sentimientos que cuando de manera natural afloran, nos hacen olvidar la
técnica que en La Moneta es sencillamente prodigiosa. Aún vestida de sal,
florecieron a sus pies guajiras, tarantas, farrucas, bulerías, soleares… en las que
desbordó la belleza, hasta que el escenario se tiño de rojo festivo para que
Fuensanta moviera la cola como una sirena.
Ella era su propio espacio en el que lidiaba contra ella misma. Bailando hasta por
los poros, el duende por momentos, amenazaba con evadirse de su cárcel carnal.
Midiendo los silencios, administrando las pausas, gustando y gustándose como si
jugara (“Es una niña que baila”, susurró una gitana a mis espaldas), nos tuvo una
hora en trance. Sesenta delirantes minutos bastaron para retornar a las raíces, a la
cavidad materna del Sacromonte y al esperanzador futuro.
Y aunque el incendio de diez minutos de aplausos le iluminó la cara, Fuensanta La
Moneta, no condescendió al más mínimo bis. ¿Para que, si lo había dado todo?
LA VERDAD. MURCIA. 28/3/2009. Patricio Peñalver
“…She came into stage very slowly, fitted in a black dress with a long train and pink backstitches, and performed a magnificent granaina dance… then a solea, and La Moneta came back slowly showing a superb mastering of the beat from the very beginning, with a deep expressive character…”
CORREO DE ANDALUCÍA. 9/10/2010. Manuel Bohórquez,
"... She portraits a profound gypsy dance style, which she displayed in its prime in some of its styles, like, for instance, the 'taranto', with a complete development of the dancing and a extraordinary flamenco soul..." "...But it was in the 'soleá' that La Moneta felt stronger, 'Alma mia' (My Soul), with a prelude of thirds sang for too long, but purporting an undoubtable 'jondura' (depth) in the performances of Lavi and David Sánchez 'El Galli'. The premises started to smell of recently made bread and La Moneta developed a complete performance, with tasty portions and inwards hand movements that captivated us..."
IDEAL DE GRANADA. 22/7/09. José Manuel Rojas
Los veranos del Corral. Granada.
Y es que la teatralidad no es el exceso sino el efecto, un tesoro que ‘La Moneta’
lleva en el DNI y en el ADN cuando mira al patio y parece decir “aquí estoy” o
cuando contrae su cuerpo para querer tocar el cielo de Granada con las manos a la
par que mueve la bata de cola. Dos maneras opuestas pero que se gustan y que
tuvieron momentos comunes en el escenario con un inicio frenético por alegrías, los
vistosos tangos y un remate de noche, cuando ya se llevaba casi hora y medio de
recorrido sin pausa, en que reafirmaron que la emotividad no las dan las grandes
producciones sino la capacidad de hacerla nacer.
GRANADA HOY. 23/7/2009. Jorge Fernández Bustos
Los veranos del Corral. Granada.
“…La propuesta de Fuensanta La Moneta y
Rafael Estévez deslumbró. Con un montaje
ex profeso para la ocasión e irrepetible,
elevaron los niveles artísticos hasta altas
cimas”
“...La Granaína que baila Fuensanta es
antológica, de una delicadeza y, al mismo
tiempo de una fuerza especial…” “…Si a
alguien le cabe duda, que vea a La Moneta
bailar por soleá y firma lo que sea…”
IL MESSAGGERO. 13/9/2009. Donatella
Bertozzi.
Festival de Roma.
Con la misma longitud de onda que
Esperanza Fernández, pero quizás más
incisiva, por la notable fuerza del impacto
físico que tiene su danza sobre el público.
Fuensanta ha recordado el flamenco más
antiguo, dibujando incluso fragmentos
graciosos de clásico español.
Gracias a una refinadísima dirección
Fuensanta La Moneta construye el retrato de una mujer de increíble
contemporaneidad.
Incluso en el baile de Fuensanta – maravillosa tensión, casi violenta, ráfagas
torrenciales sin fin de energía dinámica que la mueven- se puede leer el pasado del
flamenco y su presente, así como el presente de todos.
Todo es armonioso, pero con furia. Inspiración repentina, como el rayo, perseguido
unas veces por el valor del duelo, y otras por la penetrante pulsación de los
músicos y los cantaores, la hacen bailar casi con rabia, con pasos y gestos
inconexos que después felizmente se recomponen en una áspera y robusta,
armonía de un baile tan femenino como intrépido. Inolvidable.
Enlace fotos del festival de Roma.
http://www.flickr.com/photos/lucafiaccavento/sets/72157622229787623/
DEFLAMENCO.COM. 15/12/2009. Gonzalo
Montaño Peña.
“100 años de Mairena”.
Teatro Maestranza de Sevilla
“Uno de los momentos más interesantes del
espectáculo vino con el baile de La Moneta por
Tangos, la escuela granadina ha encontrado un
punto especial en este estilo y en ella uno de
sus proyectos de presente y futuro”
El Mundo. 30/1/2010. Manuel Martin Martin.
“La música que baila”
“…Son las alegrías las primeras imágenes que
se traducen a partir de la música. En estos
gestos de Estévez y La Moneta se reflejan las
emociones estéticas de los tablaos y descubren
que si no hay duende, la perfección técnica y
los ejercicios complejos no auguran el éxito…”
ABC Sevilla. 1/2/2010. Marta Carrasco.
“El Flamenco que sorprende”
“… Fue un recital de jóvenes artistas con mucho
arte, inquietos, innovadores, pero eso sí, desde
las esencias…”
DEFLAMENCO.COM 30/1/2010. Estela
Zatania.
“Reinventando el baile de parejas”
“…es todavía más fascinante ver como una perfecta química, basada en la
admiración mutua y una visión compartida, convierte su colaboración en el evento
más interesante que ha surgido en el mundo del baile flamenco en varios años…”
WWW.FLAMENCO-WORLD.COM 2/2/2010. Silvia Calado.
Fundación Cajasol
“Simbiosis”
“…en el centro se encuentran bailaor (Rafael Estévez) y bailaora (La Moneta)
de nuevo con bravura, que si un guiño a lo añejo, que si un silencio meditado,
golpes secos, caderas densas. El gesto de unir bellamente las cabezas fue más que
simbólico. Podía haber acabado aquí el espectáculo pero aún quedaba respirar por
colombianas y, sobre todo, retarse a una improvisación por solea…y acabar cada
uno sentado en la silla del otro con un fundido a negro…”
IDEAL DE GRANADA. 10/07/2010. José Manuel Rojas
Festival Internacional de Música y Danza de Granada
“…El “trance jondo” es un estado en el que muy pocos artistas pueden entrar pero
aún menos son los elegidos que pueden trasmitirlo al público. Fuensanta “La
Moneta”, hoy por hoy, es la suma sacerdotisa de una religión popular que cada día
tiene más feligreses…”
VOLANDOVENGO BLOG 21/4/2011. Jorge Fernández Bustos
“…Para mí fue una sorpresa de gusto y emoción. A pesar de mi incondicional apego
hacia esta bailaora, mi reconocimiento va ensanchándose como un mar de aceite y
el estremecimiento que me produjeron sus intervenciones, sobre todo la soleá, no
lo había experimentado desde hacía bastantes meses.
Un comienzo por granaínas sirve para establecer sus distancias. Ya no es
una bailaora impetuosa (o no sólo eso). Ahora es reflexiva, llena de silencios, de
propuestas y sugerencias. El tacón golpea en su momento y la punta rasguea la
escena puntosuspenseando un todo armónico. Los pies no son la base, sino un
complemento, que, junto a las manos, los hombros y las caderas, están
supeditados a los ojos, que no son más que los carbones encendidos del
pensamiento del arte puro que esta granadina destila…”
DIARIO DE ALMERÍA 22/05/2011. Miguel H. Pérez
"For the first time El Taranto gives his big prize to a flamenco dancer" "... An overwhelming success. The dance of the young dancer from Granada produces sensations which I admit I feel unable to express in words that allow the reader to have an idea closer to reality. La Moneta dances with all parts of her anatomy, with an uncommon strength; making it difficult to understand in a body so small that is enlarging as the viewer is being taken away by something magical, ancestral, which the artist, in trance, sheds, together with the sweat, on stage. You can not dance flamenco so genuine and rare at the same time. You know what I mean ...? "
By Miguel A. Molina
DANCE MAGAZINE. 12/6/2011. Ninotchka Bennahum
The exception to this critique was Fuensanta La Moneta, who performed June 9 at
UNM’s Rodey Theater. From the tablaos (flamenco bars) and zambras (flamenco
cafés) of Granada, La Moneta shared a full-evening entitled "Bailar, Vivir" with two
bailadors—David Coria and Raimundo Benitez—and five excellent singers, guitarists
and percussionists. La Moneta, the star of "Bailar," danced two lengthy solos that
opened and closed her show. Each soleá showcased the power in her legs and
arms. Her footwork was precise and powerful, each sound a resounding attack on
the floor and the dance itself. Loud echoes of foot and heelwork poured vibrational
force into the stage, leaving the audience in awe.
In the second, more interesting solo, La Moneta entered the stage with a rush of
tremendous energy, stopped and began a series of deep backbends accompanied
by extended arms and hands. Her supple fingers traced tiny circles as her she
threw her head back, turning around herself. In these stiller, more private moments
Moneta’s control over her full body and not just her feet became apparent. Then
she abandoned her use of the upper torso, appearing semi-human in quick darts
across the floor; these were little conquests of space. A rather small woman with
long, shiny black hair, an intense gaze and unkempt costuming, Moneta’s gift is raw
power. Her eyes signal a dancer who travels between spirit worlds as she moves
from moment to moment across the stage.
LA OPINIÓN DE ZAMORA. 27/6/2011. Félix Rodríguez Lozano
Y llegó el momento más esperado del Festival, el baile de La Moneta. Al cante,
Miguel Lavi y Daniel El Gallo y al toque Paco Iglesias. Abren por soleá para dar
entrada a una monumental –artísticamente hablando, porque su menudo cuerpo se
agiganta en la escena- Fuensanta con chaquetilla corta y ajustada y vestido rojo
vivo de volantes. ¡Es el desplante personificado!, la magia de las formas, el dominio
del espacio, la transmisión artística en estado puro. Como ya he dicho, la
reencarnación misma de la gran Carmen Amaya. Termina esta primera parte con
bulerías romanceadas. Cambio de vestuario, momento aprovechado por los
cantaores para engarzar una serie de tonás fuera de micrófono. Enfrenta esta
segunda y última parte por seguiriyas, de negro y simulando mandil de lunares.
Vuelve a demostrar Fuensanta que, a fecha de hoy, aunque haya bailaoras de más
nombre y caché ninguna, ninguna absolutamente, le llegan a la suela de sus
flamencos zapatos.
Y eso con veintiocho años. Con el público puesto de pie aplaudiendo, se despide con
bulerías por soleá. Cuatro largas horas que se pasaron como un suspiro. ¿Hay quién
dé más por menos? Próxima cita, el 16 de Julio en Morales del Vino. Y ojo, que ese
a priori prometía más que el de Zamora.
EL PAIS 30/06/2011. Ángel Álvarez Caballero
Teatro Real, Madrid
“…Fuensanta La Moneta bailó bastante asimismo, con el relieve de hacerlo casi
siempre en primer plano. Fue la bailaora que ya conocemos, rica en registros
aunque esta noche los midiera mucho, seguramente por prescripción de Sotelo.
Aún así brilló en sus intervenciones, que hizo con sobriedad, con rigor sobre todo.
Fuensanta La Moneta es una bailaora de raza, de cuerpo entero, que llega al
público y mantiene su atención, que vibra constantemente en lo que hace. Una
gran bailaora, en definitiva…”
IDEAL 14/8/2011. Jose Manuel Rojas.
"... Everything is a ritual where, until the high priestess does not finish her liturgy, nobody dares break the silence. The Granada dancer instills fear and respect in equal measure with her eyes. What can she not achieve with the rest of her body language!
BLOG VOLANDOVENGO 18/8/2011. Jorge Fernández Bustos
"... La Moneta renders this show as a tribute to the music, as a submission to flamenco. She listens to the singing like nobody else does, to the right one; and each turn, each tap of the shoe, the source of her strength is justified by the company at the back. It is a dance thought and rethought, rehearsed a
thousand times, but it seems new on stage, in fact, it is new as Heraclitean concept of "anything goes."
Cartel de la Primavera flamenca de Tokio.
MIDI LIBRE 16/1/2012 Roland Massabuau.
(Festival de Nimes)
“La Moneta” dans la grande cour
Sur scéne, elle est "La Moneta", pseudonyme emprunté au surnom, féminisé, de
toute sa famille. Et depuis hier soir, á l´unanimité du public présent au théâtre, elle
a atteint triple M. Comme la premiére lettre de son nom de scéne, bien sûr, mais
aussi M comme magistrale et magnifique. C´est le crédit que lui a apporté le
spectacle, devant une salle bondée, programmé dans le cadre du festival flamenco
et elle assurait la derniére partie.
“…Mais, et lá, sans réserve aucune, c´est avec Fuensanta La Moneta que le théâtre
entier impressionné par la classe et la performance, á tous les niveaux, réalisée par
l´artiste, a salué une danseuse franchissant avec panache les portes de la grande
cour. D´une intensité renversante, avec un zapateo á la fois nuancé et vibrant, une
aisance gestuelle digne des meilleures, une intuition chorégraphique et une énergie
qui en disent long sur la lette compléte de ses possibilites, elle a maintenu
constants la tensión et l´impact du moindre des signes de son vocabulaire
flamenco. Grenade a une nouvelle reine. “
DIARIO DE JEREZ. 8/3/2012 Fran Pereira
“Entre rabia y arrebatos de puro arte”
“…La Moneta tuvo destellos de alegría, destellos de pena, destellos de impotencia,
de rabia y sobre todo y lo más importante, destellos de gran artista porque cuando
Fuensanta dice aquí estoy ya no hay quien le tosa…”
LA VOZ DE JEREZ. 9/3/2012 Javier Prieto.
“La antología de bailes lleva a La Moneta a una catarsis de jondura”
“…Perdonen que el texto no respire, pero el baile no lo hizo en ningún momento y
quisiera que sintiesen el vértigo de la propuesta de La Moneta. Y así, sin
miramientos, “Extremo Jondo” llego a su fin. Con una bailaora exhausta y un
público agradecidamente entregado. Tomen aire.
La Moneta bailó y bailó, dejo sonar a sus compañeros y armó la marimorena en un
momento…”
EL MUNDO. 9/3/2012 Manuel Martín Martin.
“…Con la minera de Luis Mariano es cuando la bailaora granadina gana en calidad,
ofrece su cara más esperada, clava sus ojos en el respetable y con dos quiebros
que te matan y tres braceos de singular hermosura, inmoviliza al personal…”
LA FLAMENCA. 7/3/2012 Roberto D´Armiento.
“Predestinada”
“…Fuensanta viste un traje naranja y negro con mantón naranja, su figura es algo
retro, sus juegos con el mantón nos brindan una imagen de antaño. Una bailarora
de raza con pose firme y dispuesta a desplegar esta noche todo su quehacer
flamenco. Un percance insólito, a la vez que intrascendente, enfría por momentos
el arranque: Fuensanta pierde un zapato en el escenario.., pero la bailaora no
pierde la compostura, sigue su pieza hasta perderse detrás de las bambalinas de
donde saldrá después de unos instantes como si nada. Nada puede parar a La
Moneta esta noche. Suena la caña y Fuensanta baila con personalidad, inspirada,
despliega una admirable variedad de recursos rítmicos, coreográficos, y todos
interpretados con la necesaria medida e intensidad. Las transiciones son casi
imperceptibles, no hay solución de continuidad, las alegrías corren por bulerías y el
ritmo de amalgama se convierte en el colchón de unos abandolaos. Fuensanta baila
airosa, utiliza todo el cuerpo, vueltas quebradas, muñecas, juego de pies sin
abusar, cadera. Baila como si estuviera en trance, alterna momentos de énfasis
tribal con movimientos de gran elegancia. Cambia el palo, pero La Moneta no sale
del escenario, esta cómoda, se sienta y contempla los aires mineros que Luis
Mariano interpreta; no descansa, espera su momento y allí llega, una vez más se
inventa y reinventa, hombros, caderas, braceo, La Moneta condensa fuerza y
poesía, intensidad y fraseo. Después de cuarenta minutos la Granadina sale del
escenario y lo hace solo para cambiar de traje y vestirse de negro; mientras, Miguel
Lavi se encarga de poner eco plazuelero y cantes de fragua. Argucias rítmicas del
atrás permiten convertir ese instante denso en bulerías de Cádiz, en las que
Fuensanta baile con gracia y salero antes de que, sin casi darse cuenta, las bulerías
se hayan convertido en serrana. En la sierra hace fresco y Miguel Lavi, jondo y
certero en este palo, ofrece una chaquetilla a La Moneta que baila con buen
dramatismo interpretativo este bonito fragmento. El cajón de El Cheyenne late
hipnóticamente y de repente nos encontramos en medio de unos tientos en los que
Fuensanta mueve sus hechuras haciendo presagiar otro gran momento que sera,
como no, por tangos. La Granadina lo hace todo con tal naturalidad y flamencura
que imparte sobre las tablas una clase magistral por tangos, pieza con la que se
despide sin mas coletillas, a sabiendas de que el pescado, del mejorcito, esta
vendido y el publico, antes de que se vaya, ya la echa de menos…”
EL NORTE. MONTERREY. MÉXICO 28/4/2012 Andrea Menchaca.
¡Qué intensidad!
“…Fuensanta “La Moneta”
Quedó anoche al servicio del cante y el público del Auditorio de San Pedro quedó a
sus pies…Fuensanta invoco el espíritu del duende, dejándose llevar por la estela
que le dejaba el vivido cante de Miguel Lavi…”
L`EXPRESS. 5/5/2012. Emilie Cailleu.
Puissante, ensorcelante, fougueuse. La maturité artistique de “La Moneta”, qui
présentait son spectacle “Extremo Jondo” à La Villette, la place parmi les grands
danseurs de la scène flamenco actuelle.
Tout est là: voix du cantaor, la guitar, le son du cajon et les palmas. Pourtant on ne
voit qu´elle, comme si le reste n´était que décor et ambiance. Fuensanta “La
Moneta” occupe tout l´espace et l´habille de son propre univers. Sa bata de cola
(robe de flamenco) est suffisamment discrète pour que notre regard soit happé
par son zapateado (la frappe de ses pieds), les mouvements de ses mains et les
contorsions de son corps.
Cette danseuse native de Grenade a beau être un bébé dans la profession (elle est
née en 1984), on la considére déjà comme une des bailaoras les plus remarquables
de la génération actuelle du flamenco.
La Moneta surprend par l´authenticité et la maturité propres à ceux qui ont déjà
bien vécu. Son expression dramatique, sa maîtrise du rythme et de la technique
brouillent avec culot les frontières du flamenco, classique et moderne, Elle bat la
mesure de ses “tacones”, prenant la liberté d´accompagner ou non la musique.
Imposant un style à la fluidité et la fraîcheur fascinantes.
VOLANDOVENGO BLOG 6/6/2012 Jorge Fernández Bustos
“Lo que trae el aire” The air is whimsical. The air comes and goes. The Flamenco displayed by La Moneta in the Teatro Isabel la católica on Monday, June 4, coinciding with the first day of the celebrations of the Corpus Christi in Granada, was like the air; it was like that wind that comes and goes on a whim, which takes and brings at will. It starts with ‘granaínas‘. She heels over to the left as the musicians gather on the right. She challenges symmetry and she is a trendsetter because of her moderation. The light is kind-hearted and unveils all sort of secrets. There is nothing to hide. The sound is impeccable too. Even the absence of 'taconeo' (heel-tapping) is noticed in this first piece. She just sings with her body. With a leonine gown and a shawl, she dances to the singing which, just like her, is a ceremony. Firstly, Juan Ángel Tirado and his personal music box, then Jaime Heredia 'El Parrón' and the bronze in his voice. The anthological closing is provided by Manzanita de Granada and his deluge.
In the danceless ‘abandolaos’, the flamenco singers Miguel Lavi de Jerez and David `El Galli' de Morón make their appearance. What a display of voices, what a treat of timbres. They are all different, complementary, admiring one another, imposing their taste. The dancer comes back ‘por soleá’ with her three tiered flounce dress. Her precise beat, her glance, her silences, her falls and her poses render her intentions transparent: the singing is the language, she is the interpreter; the singing is free, she invents; the singing creates, she recreates. The closing 'por bulerías' is a celebration where this woman from Granada seems to slip into a trance. She lets herself go and fears neither emptiness nor anyone. The guitar turns into a solo to deliver a beautiful ‘bulería’. Luis Mariano brings the sound from the mountains. He conveys both love and lack of affection,
storm and calm. He is accompanied by the particularly fine Miguel ‘El Cheyenne’ with his box. Luis sings a solo and he starts the 'farruca'. Dressed in a backless black boiler suit, Fuensanta discovers another form of dancing. The 'farruca' swaps gender. It now is sinuous and sensual. Her feet sing the absence of voices. The sky is hers. A round of ‘martinetes’ reveals the greatness of the flamenco singers, their good form, their healthy rivalry. They look at each other and they like what they see. They pass the baton on, cheering on the remarks of sympathetic circularity and the cues of their companions. The ‘seguiriya’ rolls on. This is possibly the style which La Moneta is best identified with. The drama turns light-hearted and the grimace invades the wise contemporaneity that has soaked the whole concert. The finale, after the greetings, comes in the form of ‘tangos’, where the flamenco singers sing at will and become choirs when they are from ‘el Camino del Monte’. Fuensanta, with more freedom than ever, dances for desserts. IDEAL 6/6/2012 José Manuel Rojas.
‘Singing renders tribute to La Moneta’ There are only a few people who can command and can do, but there are even less people who show respect and do share. This reflection is one of the main valuations that must cross the mind of anyone after seeing Fuensanta the Moneta dancing. Well, if the 'granadina' purported to dance to the singing in the play “Extremo Jondo”, in ‘Lo que trae el aire’, in spite of not having an established script, a primitive similar structure can be felt although with tints closer to a symbiosis. A paradigm of flamenco singers who grow bigger as they constantly take turns to sing different 'palos' (beats) supported by Luis Mariano's colossal work on the guitar and the skilful percussion of ‘El Cheyenne’. Not only they all work in order to please the public, but also to attain a personal satisfaction of the moment. This is not just a job, it is a challenge between friends where no one wants to be left behind, and that is conveyed in the form of a healthy competition. In this environment, any flamenco dancer would grow bigger and, in the case of Fuensanta, a transition to become huge, almost titanic, is shaped. She fills the stage of the Isabel La Católica theatre with a repertoire of poses 'por granainas' decorated with the floating of the shawl and the long-tailed gown; she leads a crescendo 'por soleá' where even the flamenco neophytes applaud to a rage. And, inadvertently, we are already captives of her ritual, a place where the spectator is mesmerized by each one of her glances, and where the high priestess of dancing could do whatever she wanted, for she has already put a spell on us. No hidden catch, but based on a creed where there are no lies. There is only delivery.
But beyond what might seem a fervent and instinctive act, La Moneta listens to every guitar chord, she forms an alliance with every beat of the box and respects with intent each utterance of her flamenco singers. Everyone sings anything, but everyone gets their own prize. Round Miguel Lavi ‘por soleá’, powerful and fancyful ‘El Galli’ marking the ‘abandolaos’ pace, striking with
intensity ‘El Parrón’ por seguirilla, Inevitable Juan Angel Tirado with his ‘martinete’, and close as well as vintage ‘La Nitro’'s tangos. Equally, the guitar has its moment, although its moment equally lasts all evening. Right after a solo supported by the percussion, Luis Mariano dances a ‘farruca’ 2.0 where the dance becomes modernistic and the most respected dancer dreams of Fuensanta's forms thanks to a black dress that leaves her entire back exposed. The finale comes closer with a round of ‘martinetes’, and the penultimate choreography of the night ‘por seguirillas’ in this occasion; although, finally, in an encore ‘por tangos’, there will be another important kick.
Here, more than ever, emerges that savagery which the flamenco dancers from Granada should not miss, that freshness which should not be educated, that dancing blowing in the wind.
GIRALDA TELEVISIÓN 28/9/2012 ANTONIO ORTEGA.
"... La Moneta, when she starts dancing in her own right, which is what she did last night, dazzles the senses of the most discerning fans; in her dance, she gives us details of the greatest dancers in history, but seasoned with her own personality, a nectar that tastes like earthy roots ... ", " ... she danced a pas de deux with Javier Latorre which left a legacy in the annals of this Bienal... "
She gave a flamenco lesson without theatrical prominence other than the dancing of a brilliant and eloquent artist in the forms she purports. Fuensanta la Moneta gave her all on stage in this dance recital one hundred percent flamenco, unsweetened, dancing in her own right, she herself and her ‘jondura’ (depth).
"... She had the collaboration of the master Juan José Amador singing ‘por seguiriyas’, evocation of one of his main flamenco dancers, the great Carmen Amaya, whom the dancer constantly shows tacit support through her dancing..."
"... She also had the special collaboration of dancer and choreographer Javier Latorre. His dancing is like the architecture of a cathedral, a masterpiece. Latorre's dancing style purports excellence because everything in it is developed in a body language that is not tied to tensions, dancing for him is the same as blinking, it is not a sequence of positions, it is an extension of his body. The well of wisdom he now treassures has given him excellence and elegance. “Solea Apolá”, Latorre's mastery was melted with La Moneta's temperament in
the pas de deux. They are two concepts far apart, but the union was delightful..."
"... La Moneta naturalized the dance in this recital and she emptied the grief of her fans, bereaved by the impure false vanguard. With Luis Mariano's music, guitarist, she also interpreted a ‘farruca’, ‘malagueñas’, ‘zapateados’, ‘tientos’, ‘zambras’, ‘jaleos’ and ‘solea por bulerías’.”
‘... Her flamenco spirit was supreme, full of details, she excelled herself with the ‘tangos’, she gave it all and found herself drawing gestures and movements again and again that rocked a tasty palate, she suffered in the tragedy of the ‘seguiriya’, she was sentenced in the ‘solea’ and was a river of joy in the festive styles. Her brilliant footwork rules her dancing but it does not condemn it because La Moneta's vehemence meets her mood when what she dances and what she tells is the same thing ... ‘
SEVILLA FLAMENCA 28/9/2012 Alejandro Medina Merino
To the sound of the ‘malagueña’ and the ‘farruca’, we see a more anchored Moneta, attentive to body positioning. She sometimes looked for awkward positions, but even so, the scent of inspiration always appears. The vision of this she-flamenco dancer from Granada does not give in an inch to banality. She became lighter with her footwork, she connected better with the group and we started to relax to see dancing done in a unique way, which starts to become exclusively the dancing of La Moneta. That dancing style is not merciful, it knows no relief, and it is locked in a dark and dense style of flamenco tragedy.
The ‘seguiriya’ is a knife that stabs her and makes her squirm, and she fights it with the volcanic force of her feet. When it looks like the Earth is going to crack open, La Moneta lifts her face to take our breath away. Her face is the centre of her expression, the deepest Moneta in a body that hurts and gets hurt.
Fuensanta la Moneta focuses her discourse on her feet and on the twisting of her upper body. This might be appreciated or not, for that femininity has in here a more earthly than sensual version. Her arms have no main role, they rarely crown her head. Her twists seem to seek the pain on her feet, and then, for an instant, frees herself, stands up and fixes her eyes on the audience: wow! The most brilliant moment of the night came with the ‘soleá’, together with Javier Latorre, who was her teacher. The cyclonic force of La Moneta stroke against Latorre's stillness, his manly and elevated dance tamed Fuensanta's shoves, who was dancing like the wind whistling through the trees. This is Extreme Flamenco, very exciting.
With the ‘soleá por bulerías’ we enter another emotive cycle, and it gives us unforgettable pictures. But it was in the ‘tientos’ with an edge of ‘zambra’ where
La Moneta opened the bottle of sensuality: her arms and hips appear, the set of flounces, the magic of the Sacromonte ... Our chest opens wide and we flutter with the Moorish panache because La Moneta lead us to fall in love with her. In the final ‘jaleos’ we've already surrendered to her, well served of dancing.
The show has areas for improvement, such as lighting and some moments of singing, but we have to thank them all for bringing us so much Flamenco, that flamenco we all need so badly.
ABC SEVILLA 29/9/2012 Marta Carrasco.
"Real Flamenco Dancing from Granada"
"La Moneta paso a paso" (La Moneta step by step) is a decent play; it is serious and it is intended to respond exactly to her name. That is, to expose this Granada woman's dancing who faces alone her dancing and the audience. Well surrounded by a group of singers and Luis Mariano's solo guitar, Fuensanta La Moneta elevates her dancing to mastery. The play is divided into three episodes: "Sobre mis pasos" (Over my own steps) ‘por farruca’, ‘malagueña’ and ‘zapateado’; "Hados" (fates) ‘por soleá apolá’ and ‘seguiriyas’; and "Vereda" (trail), ‘tientos azambreados’, ‘jaleos’ and ‘soleá por bulerías’. All this with two great collaborators: Juan Jose Amador and Bobote.
But besides showing her dancing, La Moneta wished to bring back a dancer who we haven't seen, in a stage from the Bienal, since 1994, when he took part in a tribute to Antonio the dancer: Javier Latorre. This 18-year absence in which Latorre has been dedicated to creating, have not taken away a bit of his dancing essence. He enjoyed it and the audience enjoyed his dancing.
The dancing progressed slowly and it was ‘por tientos azambreados’ and ‘jaleos’ that Granada gushed out. In a world so standardized, where everyone
mimics everybody else, La Moneta has chosen to be different. So, her dancing style is strong on her feet, but singular in her arms and torso. The Sacromonte and the Albaizin are imprinted in La Moneta's dancing. She moves her head back, raises her arms and dances with her feet, and all she missed doing was the arch on the floor like in the famous "The Swallow". I liked what emanates from La Moneta's dancing; it ranges from sensuality to sweetness, from the academic to the popular stuff. The ‘jaleos’ and the ‘soleá por bulerías’ were the finishing touch for a night in which a dancer showed us her sincere way of understanding flamenco, the flamenco from her Granada. I was glad that she never forgets where her roots are.
Videos de La Moneta
http://www.youtube.com/watch?v=0idln6zbZ5Y&feature=plcp
http://www.youtube.com/watch?v=28cSH65mj0s&feature=plcp
http://www.youtube.com/watch?v=jEfGexNKTC8
http://youtu.be/EZOhLAwHR7w
http://youtu.be/2lYtT8ZfHQY
http://youtu.be/s6_AHsJau7Q
http://youtu.be/b0i1GuD6-1o
http://youtu.be/wdUTmVfvojk
http://youtu.be/1i2WKul5JtA
http://www.youtube.com/watch?v=soZ2tU8YvPg
http://youtu.be/yJnemAHtu10
Contacto:
Raúl Comba
Teatro de la zambra s.l.
Plaza del Retiro, 11-3º
18199. Cajar. Granada. España.
www.teatrodelazambra.com
www.fuensantalamoneta.es
