Once inside that space the dancer’s willingness to dance will not go unnoticed. The determination to enter this natural cavity will comfort and urge the group onward. The dance school she belongs to has no intention of imposing on the accompaniment – in the terrain created by Urulario, that adjustability is a plus.
Like with the performers, the audience’s hearing will be enhanced a thousand times. We’re going to listen to how a flamenco gown, fan, hat or shawl actually sounds… in a cave. Ángeles Gabaldón goes nowhere without them.
The primitive cante is used as fire to take over the space. To make that mineral realm organic. The singing of José Méndez removes the damp from our bodies, dries us out, enables us to make those walls our very own.
That primitive singing without guitar is able to imbue the walls with the colours that have humanized so many spaces, hostile though appropriated. They are songs that allow us to gather in spaces beyond control. The Méndez family is a family of fishermen; they know the strength of cante on the dock among crates of fish; families who work the forge also know what we’re talking about, the sagas wrought in the field… all were able to overcome with those songs places that were originally hostile. Ángeles’s dance will begin to respond to that cultural component implied by the singing, departing from that first shamanic immersion accomplished in the cave offered by Urulario”.