Anubis Galardy. Havana, 30th October (PL)
Havana, 30th Oct (PL). She stepped into the dusk of the stage in Havana like a shadow, and the light first was drawn to her upraised arms and then in a fine line, broken at times, to her Flamenco dancer silhouette.
"Ergo unarosa e tudo se ilumina"(It is a rose and all lights up... it is a rose, a body and a destiny). The written word and dance, united in the same poetical stream. Flamenco set loose in the fiery blood of the dancer.
Seville in Havana; Art erases frontiers. That Seville that Maria Pagés left over 15 years ago and to which she is forever returning, in each and every instant of her dancing, no matter where she may be in the world.
It was a magical performance, created with the passion and wisdom of a master goldsmith - Maria Pagés taking on both the direction and the choreography. The Onion Lullabies, by Miguel Hernández, whose depth and heart-wrenching sentiment are shown in a different dimension.
Texts by Lorca, by the unmatchable Chabuca Grande, by Atahualpa Yupanqui and texts taken from that popular poetry that is born free, perpetuated on the streets and in our collective memory.
"I wanted to dance to the words, only the words, with their rhythm and cadence, the melody of their sound. I tried to translate and equal in expression what each one of them inspired in me", says the artist, who enhances the 21st Havana Ballet Festival with her presence.
"It does not matter what is the origin of the word or what culture it belongs to, dance will be the interpreter that translates and expresses the word". Thereby her creed, made clear from the beginning of her performance. She is on her own and her undulating movement, her infinitely eloquent arms, are all fire and flight.
But Maria Pagés did not come here alone, she brought a part of her company with her: two exceptional dancers, Emilio Herrera and José Barrios; a singer with a prodigious voice, Ana Ramón; and a guitarist, José Antonio Carrillo, who backs her up, establishing a creative link between the two.
A perfect communion between them is perceived at all times when they are together onstage, each one with his own individuality, in an artistic duel of noble richness, exempt of rivalry, giving themselves up to the pleasure of the dance.
Maria Pagés believes that Flamenco is abottomless quarry and measures it up with other forms of Art, from which she drinks with no fear, opening up new paths to go down. "Roots, memories, essences - all give us the necessary balance", she says.
There are "port de bras" that are born rounded and then open up into perfect circles, reminding us of classical ballet.
The evolution of her arms and feet - her expressive backstitching - also remind us of it. One must not forget that classical danceis deeply rooted in folklore. There is a dialogue of loans and inevitable influences.
The audience vibrated, burst into applause. The "bravos" and "olé's" filled the evening air in Havana. The performance ended in a round of percussion, with Maria Pagés and her castanets rising up like a growing rumour, in an infinite defianceof dazzling sonority, almost like the sound of an orchestra.
Barrios and Herrera, with the sound of their canes tapping an answer to the rhythms of the percussion, defying themselves, enjoying themselves, in mutual admiration. Then followed a round of "Tientos" as night fell and there was an explosion of applause.
With a display of superiority and inspired by the gratitude of the audience, Pagés danced to the rhythm of the applause. Pure Flamenco burst through again and once more the frenzy of her dance flooded the theatre.
It is not in vain that Saramago dedicated an elegy to this exceptional artiste, full of the flattery and the fire of real poetry: ..."She dances, and as she dances she transforms all that surrounds her. Neither the air or the earth are the same after Maria Pagés has danced".
