Flamenco Dancer, Seville

The singer´s voice quavered and droned, thin and nasal like a muezzin´s. Jazzy chords spilled from a guitar: major then minor, fast then slow, confident then unresolved; cool and dark as a shaded courtyard in old Seville. Suddenly the dancer, Ascunción Pérez - dressed in red and black, with flashing eyes and jet black hair - strode quickly through a high doorway and mounted the small, wooden stage on the patio of the 18th century palace which is the Casa de la Memoria. All three - singer, guitarist, dancer - were young, local artists from Seville, performing flamenco in a modern style: fresh, unsentimental, but still firmly rooted in the old tradition. This was the real thing - not the castanet-clicking touts chasing the quick euro, nor the rough amateurishness you get from the hillside cave-dwellers above Granada. These were three serious students of the dance.

Complex rhythms flowed, faltered, petered out. Then began again, sinuously following a different direction, half-scripted, half-improvised. Hands clapped on the beat, off the beat. The dancer arched one arm over her head and stamped diagonally across the stage, head bent back, her body-shapes changing second by second, fingers stuck out at crazy angles like the tentacles of an octopus. She hitched up her dress, slapped her thigh. She was proud, provocative, defiant, sexy, coy, tragic, strong, yielding, ecstatic; one moment a majestic matriarch, the next a bashful señorita. Studied awkwardness gave way to still composure. She squatted, legs akimbo, as if giving birth - grotesque as a figure from a Paula Rego painting - then became all beauty and grace, like a Velázquez princess.

Her red heels went clack, clack, clack. Clack, clack across the wooden floor, as the tempo rose and quickened. All hands clapped in unison, as faster and faster she twirled and spun in a vision of red and black, in a frenzy of movement. Clack, clack, clack. For a moment she became all the women of Andalusia rolled into one: the smart, Spanish women parading in the gardens of the Alcazár, the Arabic gypsies scraping an existence in the shacks by the Guadalquivir river. At the crescendo she stood face-on to her spellbound audience: stiff, erect and proud; all fire, all heart, all corazón. The house erupted in swift, spontaneous applause. Olé! The lights came on and we shuffled off, mesmerized, as if a dream had ended.

(Posted from Mérida, on the Vía de la Plata, Spain.)